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I COMMODORE <*■«••. CONTENTS
MAY «1990 Issue #88
THE CRAMPS
Nardwuar gets the scoop on the fucking best band in the world 6
PHRANC
They play "I Enjoy Being A Girl" on Muzak, too - by Pete and Andrea 9
SEVERED HEADS
Tom Ellard joins the rhythm of machines - by Lloyd Uliana 12
ROOTIN' TOOT1N' HOOTENANNY
Here's listening to you, kids - by Bartholomew, the Patron Saint of Hootenanny 15
MAMMORABILIA: RUSS MEYER'S OBSESSION WITH BIG TITS
Nobody gives a better Russ Meyer interview than... - with Grandee Englehart 16
A LITTLE MAN, FALLING
A story by Christopher Kovacs 30
AIRHEAD
Fact or fiction? 5
HELL'S KITCHEN
Wow. Slick. Bo-nus. Groovy 20
COMIX ARE ALL I READ
It's "Bob's Favorite Comics," not Leigh's 21
LOCAL MOTION
Let's get Janis - she listens to everything!! 22
REAL LIVE ACTION
Bug Head, Babes in Toyland et al 23
UNDER REVIEW
John Zorn, Fugazi, The Cynics and bts more 24
DISCORDER DATEBOOK
What's on, what's hot, what's hip and what isn't 26
ON THE DIAL
It's like TV Guide, but it's for radio 28
SPINUST
It's a list regarding spins, okay? 29
EARTH GUY
Scott Fearnley 5
DANCING ON THE CLOUDS
Marc Yuill and Julian Lawrence 11
ROLAND THE HAPPY WANDERER
Geoff Coates 20
SOCIALIST TURTLE
Colin Upton 21
BORDUM
Bryce Rasmussen 27
FOR OFFICE USE ONLY
EDITOR Kevin Smith ART DIRECTOR Scott Chernoff PRODUCTION MANAGER Bill Baker EDITORIAL ASSISTANTS Chrte
Buchanan, Paul Funk, Viola Funk ASSISTANT TO THE ART DIRECTOR Geoff Coates ARTIST Scott Fearnley WRITERS
Bartholomew, Grandee Englehart, Christopher Kovacs, Andrea Luplnl, Pete Lutwyche, Janis McKenzie, John
Ruskin, Lloyd Uliana, Leigh Wolf PHOTOGRAPHERS John Sinai, Leonard Whistler WORD PROCESSING Randy Iwata,
Alice Lorlng COVER PHOTO Leonard Whistler SPINLIST Jas Uppal ADVERTISING Mike Harding, Lloyd Uliana ADVERTISING PRODUCTION Randy Iwata SUBSCRIPTIONS/MAIL DISTRIBUTION Robynn Iwata PROGRAM GUIDE/DATE-
BOOK/DELIVERY FRIEND Randy Iwata ACCOUNTS Barbara Wilson TECHNICAL SUPPORT Ted Aussem
DISCORDER Copyright © 1990 by The Student Radio Society of the University of British Columbia. AU Rights Reserved.
Discorder is That Magazine from CiTR fM 102, and is published twelve times a year by The Student Radio Society of the
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If we don't, well lose 'em. Deadline for submissions and ad bookings is the 15th of the previous month.
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652 COLUMBIA STREET • NEW WESTMINSTER • 526-8675 JUST THE "FACTS"
Dear Airhead,
In your article "Avant
Garde Artist", Rick Gibson
wrongly criticized Lifef. e for
not protesting against th' langley poundkeepers shooting of
dogs in the head (March 1990).
If Gibson had checked ihe
facts he would have discovered
that Lifeforce convinced the
Langley Township Council to
stop shooting pound dogs in
January 1990. If he was so concerned why didn't he protest it?
The media has blown out of
proportion Gibson's publicity
stunt of crushing animals for
"art". He had no profound statement about art. He had no insight
into life's problem. His press
release in December 1989 made
it clear that his only goal was to
kill "small animals" as a new "art
medium".
I enclose the facts about this
bizarre incident. I hope you will
give the public both sides of the
In respect for all life,
Peter Hamilton
Director of Lifeforce
Thanksforthe "fads." Thepoint,
however, would seem to be that
there was such an uproar over
one ral, which was destined lo
die in the stomach of some reptilian pet, yet unwanted dogs are
still being killed, now by injection instead of being shot (possibly more humane, but dead is
dead), and other Sniffys continue
to end their lives as petfood.
ITS A DIRTY JOB...
Dear Airhead,
Ok, Discorder... you've had
it. I'm really sick of it now. You
can print this as a letter to Airhead
or as an actual article, I don't
care. All I know is that somebody
has to do it since you people are
obviously so braindead-lazy you
Anyways, here it is: THE
REAL LOCAL MOTION:
Here it is folks, the "let's
bring Vancouver up to date article" from the lame-ass Discorder. This month, we'll take a look
at the vinyl happenings in Vancouver in the last while.
Over a year ago, a big vinyl
deal went down with three local
Vancouver bands that most hep
cats are already aware of. The
most talked about deal has definitely got to be THE SCRAMBLERS and their infamous Penta
agreement. Contrary to popular
rumor the band has not been
thrown off the label for being
rude, drunk, and just downright
obnoxious. No, the execs at Penta
like that sorta stuff and therefore
THE SCRAMBLERS album has
not been shafted! The record is
just a mere six months- late and
counting... Second in the deal
was BRUNO GERUSSI'S MEDALLION who was signed to
WEA Records and have since put
out a garage-pop type LP entitled
"In Search Of The Fourth Chord"
and is a great offering of fun
tunes. But we wouldn't know that
right? God knows DISCORDER
didn't review the album!
The last band was
Copywrite. This band (who's
members include a couple of
guys from SLOW) got the best of
the bunch. They were signed to
Geffin records of L.A. and were
basically given $25,000.00 to
record with to make the best
damn album possible. What did
Copywrite do with the cash?
They spent most of it on hot dogs,
beer and other fun stuff... besides
recording costs. What is happening with the Geffin-Copywrite
connection now? You got me, but
there ain't no album in the near
future, that's for sure.
On the brighter side of
things in the Teamworks part of
town, Bob's Your Uncle has been
officially signed to a major record label from L.A. so we should
be seeing and hearing a great
follow-up LP to their first vinyl
offering from Zulu back in '87.
Also in anticipation is a full-
length album from Vancouver's
Kings of rockabilly, the Nervous
Fellas. The Nervous Fellas were
signed a while back to Nervous
Records of England who assure
us there won't be much more of a
I guess there isn't much
point in mentioning the two new
album releases from both D.O.A.
and Spirit of the West. Both
bands are now on major labels.
New Vancouver releases
have also come from'those
young, playful punks Curious
George, on an independent label,
and also from CiTR's own "garage king" Nardwuar the Human
Serviette, on his very own indie
label. Curious George's LP,
"Children Of A Common
Mother" is an absolutely excellent offering of really fun punk
music in the tradition of the Sex
Pistols and the Stooges. I often
find myself slamming with my
cat when rocking to this LP.
Nardwuar's record is another
rocker but in a different sense.
This record, entitled "Oh God,
My Mom's On Channel Ten!" is
a garage-rock compilation album
featuring fourteen garage bands
from all over North America.
From Vancouver, local garage
legends, THE ENIGMAS appear,
as well as two up and coming
garage bands THE SMUGGLERS and Nardwuar's own
band THE EVAPORATERS.
What makes this comp. really
special along with the variety of
great garage tunes is nutty interview segments between songs of
Nardwuar "versus" such notables
as Jello Biafra and ex-U.S. president Gerald Ford. Also included
in the package is a hilarious booklet featuring pictures and bios on
all bands included.
On the smaller side of
things. Dirt has been in the studio
lately recording a soon-to-be-
released EP. Also in midst of
album making is the aforementioned garage-rock outfit THE
SMUGGLERS. Other bands like
the HARD ROCK MINERS and
SARCASTIC MANNEQUINS
are holding back from the indie-
thing, in search of a minor-major
deal (with no pun intended).
I kinda wish these bands
would" put out an indie record so
we can have something to listen
to while we wait! Yes, one could
argue that these two bands, as
well as many olher bands, put out
tapes. But let's face it, TAPES
SUCK. You know it, I know it.
Take ROOTS ROUNDUP for
instance. They just put out a
brand new tape! What a waste!
Tapes are nothing. They can
hardly be counted anywhere past
the demo file. But back on track...
also searching for a deal is the
small but mighty Chris Houston.
Whether he plans to do another
solo album or an LP with his
brand new band EVIL TWANG
(featuring Art Bergmann who's
second solo album jusl came out,
as most of you should be aware)
is unknown but either would
surely be entertaining, thought
provoking and disgusting. And
s far a
zine. No one wanted lo review the
BGM record so il wasn't reviewed. Thai's how it works (or
doesn't).
Bobs Your Uncle's EP was
on Criminal Records, not Zulu.
We've reviewed Curious George
live, reviewed their LP, and did a
feature on them. We've given our
own Nardwuar (He writes for us
don't ya know. Check out his
Cramps interview in this issue.)
coverage in the past. Wilh
Nardwuar being one of our own
there is the little problem of conflict of interest, however. And
how can any of us be objective
about a project by someone we
love so much? Also, Dirt has done
some recording, but the outcome
of which is as yet undecided.
Finally, the Smugglers should
actually have a single oul on Get
Hip Records (The Cynics' label)
come June or July.
JUVENILE MASQUERADE
Yo, Airhead,
Those coming to Viola's
defense have missed the point.
Most everyone will agree that
reviewers shouldn't lie about
their opinions and that reviewers
with an attitude are more interesting to read.
However, Viola's reviews
consistently gloss over such
important elements as Music and
Performance and dwell over the
deeper questions of cloths, hair
length, who knows who, and does
anyone cool-enough-to-count-
as-human-by-Viola's-standards
like the band, etc. It's fine that
Ms Funk's "pieces" see print, but
as reviews, they are juvenile.
Fred Maycatt
P.S. I don't like Hell's Kitchen,
either, but at least it doesn't
masquerade as something it isn't.
PRIVILEGE AND MOTIVATION
Dear Airhead,
I am appalled by some of
the ignorant people who work in
the record business. As a journalist for a small college in Calgary,
Alberta, I have had the privilege
of reviewing alternative rock
concerts and records. I have taken
great pleasure meeting n
: people. But s
have come across some rude
s the
vinyl happenings in Vancouver
in the present and near-past. Next
month DISCORDER will try to
bring you more REAL LOCAL
MOTION but will probably fail.
Oh, and one more thing. Just in
case you're deaf and blind,
NOMEANSNO put out they're
best album so far earlier this year
entitled "WRONG", which has
been selling like wildfire
throughout North America and
Susan Ferran
*** most of the released albums
listed are available at local indie
record stores such as ZULU,
SCRATCH, or TRACK.
So we are "braindead-lazy" and
"lame-ass," eh? And you write
one letter that tells all about the
local scene. BIG FUCKING
DEAL. Once is never enough, so
put up or shut up. Ifn you got
whal il lakes, do something on a
regular basis rather than an oh-
so-easy one off potshot.
But about your specific
points... Why is the Scramblers
record soooo late then? Could it
be that Penta lost its distribution
deal with Elektra in the U.S., and
the whole future of the record
label and its acts is up in the air.
The unpaid individuals who
contribute to Discorder deler-
of the maga-
Just lasl Friday, I had a
chance to catch Jane Siberry live,
and what an exciting performance it was. Yet, an incident
occurred lhat left me wondering
what is happening to this world.
While preparing to take pictures
of Jane, I met a rude and obnoxious speciment. He was an
American photographer for a few
major record companies in Canada. He told me the most dementing thing that left me pondering my self-worth. He said,
"The record companies and music stars couldn't careless if some
two time bit newspaper covered
the concert." I had to question
this generalization and his motivation for even being in the record business, maybe the title and
Anyways, I was really astonished by his comment. I personally think the university and
college newspapers keep the al-
They help underground bands
wilh media coverage and support.
These papers are the medium of
communication between the
community and the underground
bands. Maybe if it wasn't for tiny
little newspapers like the Reflector, Jane Siberry might not have
gotten as far as she has (just a
speculation). I just wanted to
inform your readers lhal they
should be lucky that there are
free papers to read for information. Keep up the good work and
putting out creative il-
of Discorder.
Thank you,
Nikol Mikus
Calgary, Alberta. ARE THE BEST FUCKING BAND IN THE WORLD
WITH YOUR HOST NARDWUAR THE HUMAN SERVIETTE
By phone Irom Marseilles France:
Who are the Cramps?
Nick Knox, Poison Ivy, Candy Del Mar,
and Lux Interior.
What is the bands' average age?
The line goes dead.
By phone from L.A.:
Hey Ivy, remember I was trying to talk to
ya before?
Ya, I called you from Marseilles and I was
just getting a bunch of noise. I couldn't
hear your voice, only a very loud screaming squeak! .~-
Now that you are back from your Euro
pean tour where are you now?
In Los Angeles.
Have the Cramps ever been to Vant^l^
before?
Oh yeah, lots i
imps eveXbet
s of times
When was your first time her«$f *|j|
Oh boy, let me think, it was probably '81
or '82. Ya, the first time in Vancouver m
played the Commodore Ballroom. One of
the things I remember is the guy brought
me a... the guitar I'd been playing was a
Lewis which was a Canadian make and I'd
never seen another one. I found an ad fer
another one when I was in Vancouver and
this guy carried the guitar down to the gig
to show it to me, and I bought it.
So you have a piece of a Vancouver instrument them?
Ido. My Lewis; it's a great guitar. It'swhat
I played "Surfin' Dead" on. {
You've covered a few old ancient rock-
| abilly tunes and stuff like that. Do any old
I fat rockabilly guys come up to you and get
| mad that perhaps you're "borrowing"
8 their tunes?
■j* No, I've never had anybody bet mad. t
o don't think what we do should provoke
I, them to be mad, 'cause we are honoring
j them. We've met some rockabilly guys
'5 from what we do. We've met Sleepy La
| Beef, we 've met Ursel Hickey and there's
J a lot more I'd like to meet.
6 DISCORDER
But they've never been upset that you
took their song or played it in concert or
anything like that. Like Hazil Adkins?
No, they should be honored that we covered their songs and credit them. I can't
imagine why somebody would be mad
about something like that. They would
have to be out of their minds. The only
thing I heard about someone being mad
was Rufus Thomas because "Can Your
Pussy Do The Dog?" is inspired by his
song "Can your Monkey do the Dog?" and
I think he didn t like the obscene way that
we rolled 'Ihe Dog."
How did ya find the song "The Crusher"
by '60s burn-outs the Novas?
We got it off a compilation album that we
had found in England, while we were at
Miles Copeland's (I.R.S. founder and
Stewart's brother} house. We were staying there cause we were going to be playing at the Lyceum in London. iB^
We bought the record in the afternoon, went home and played it on his
record player, and decided to play it that
night at the Lyceum. Everybody figured
out it was pretty close to Drug Train" so
that we already kind of knew it, and that's
We first Hme we did it, the same day we
bought the record.
Are there many Cramps bootlegs around?
Seems like about a hundred.
Does the sight of om cause anger to run
rampant through your body?
Well, to some degree because they exploit our fans. They're usually horrible
quality, they cost$30anti up, and they're
packaged in a deliberately misleading
way. A lot of our fans want to own every
song we ever covered, so what the bootleggers will do is re-titte them. They'll
give a new title to a previous song of ours.
They'll call "Psychotic Reaction," "A Walk
Down Broadway" or they'll call "Bacon
Fat," "Big and Fat" and these are all deliberate attempts to suck money off our
fans.
Have you had any interesting opening
acts lately?
Yeah, the show we just did at the Town
and Country in London was great. There
was a band called Ug and the Cavemen
who dress up like cavemen, barefoot with
leopard skin print things, and do all, like,
cavemen songs. They do "Go Gorilla,"
"Be a Caveman," all these covers, caveman things.
This incredible Elvis impersonator,
that was a Vegas guy who's living in
England. I guess it's a tax problem or
something. That was a good opening act.
How did the Cramps all meet? Were you,
like, in a record store and were you, like,
both looking at a rare Hazil Adkins single,
and both trying to grab it at the same
time?
No. Actually, when we met Candy Del
Mar, we were trying to grab a parking spot
atthe same time. We were in a parking lot
of a liquor store, and they didn't have
enough parking spots for the store, and
we were both kind of challenging each
other for the parking spot. And then she
recognized me and Lux and that's how we
met.
Nick, we've known forever, it seems.
We were introduced to him from a friend
of ours from Cleveland who knew Nick
and knew we needed a drummer.
Wasn't Nick in a band called the Electric
Eels?
Ya, he was in the Electric Eels, and this
guy Bradley, who's dead now, introduced
us to him.
Didn't Nick's brother also once play in the
Cramps?
His cousin Ike did.
That was after Brian Gregory left?
Oh, way after. That was after Kid for
awhile, and then we had another guy playing, Click Mort, and then Ike played with
us again for a tour. He was just helping us
out kind of as a favour 'cause we didn't
have anyone to tour with.
What other guitarists have the Cramps
churned out since Kid Congo?
Ike Knox, Click Mort... We've had various
people hired, like Fur, who played with us
for two months. Actually, before Kid was a girt called Julian Grindsnatch and she's
in the "Urgh" movie with us.
Were you and Lux from Cleveland originally?
No, Lux is from Akron and Nick is from
Cleveland.
And what about yourself, Poison Ivy?
Umm, I'm from... many places, mainly... I
was in Sacramento when I met Lux hitchhiking.
Then did you just decide to form a band
right off the bat?
No, we didn't do that for a while. We were
just pretty much interested in each other.
Did the New York Dolls, in any way, inspire Lux and yourself to get a band together? Are they a big influence on the
Cramps?
Oh huge. We love the Dolls. We saw them
a bunch of times, and I think that was
really the final band that made the Cramps
form. I think that was one of the best
bands there ever was.
What do you think of what Buster Poin-
dexter is doing now?
If he's happy what he's doing, I guess he's
earned it from having been in the Dolls.
Tm certainly not interested in that particular thing that he's doing now. But he is
David Johansen, and the Dolls really did
something special, something magic.
Who did the Cramps play their first gig
with?
The first real gig we did was with Suicide,
a band out of New York that used to play
pretty frequently in the late 70s. We were
kind of a regular co-bill with Suicide;
they'd headline and we'd open for them.
We also played with the Ramones a lot in
New York.
You guys were featured in that video "Live
at Knappa State Mental Hospital," Was
that a real show?
Ya, it was.
How did that get arranged?
/ dunno, I think at that time it was Howie
Klein or somebody in San Francisco that
set that up. Wejustshowed up and played.
It was a real gig.
An incredible show it was, featuring a lot
of Brian Gregory on guitar. Where is he
nowadays? Is he still around L.A. or Hollywood?
No, not at all. We haven't kept in touch for
about ten years. We're not friends.
Was he a bad boy to the Cramps?
We're not friends.
A few years ago you recorded "Songs the
Lord Taught Us" at Sam C. Phillips' Studio. Is he still alive?
He certainly is. He's alive and very kicking, very youthful, young. I think he's a
vampire, 'cause he looks younger now
than he did in the '50s.
Where was "Stay Sick" recorded?
We laid the tracks down at a studio called
Music Grinder in Hollywood, which is a
great studio. It has this huge room, I think
it used to be a brewery or some kind of
factory. It just looks almost like an aircraft
hanger; it's all wood and concrete. We
mixed at a studio called Record One,
which is a studio owned by Ocean Way,
which is really the best studio in Hollywood, in LA., maybe in the world.
This time, you, Poison Ivy, produced the
Cramps?
/ really have on all, to some degree, you
kno w. But it tva. just kind of meaningless
to keep saying the Cramps, 'cause I was
producing them.
Have any other artists requested your
producership?
We 've produced friends of ours from back
East, the Mad Daddys, a group from New
Jersey, and another New Jersey group
called the Sickidz.
Are the Sickidz still around?
No, they're not. There's a group no<
called Pink Slip
Daddy with some of
the members, and I
think they just came
out with a new release.
What about Enigma
Records, are they
treating the Cramps
nicely? Hopefully
they are paying for
this phone call,
right?
We have an unusual
deal, even a lot of
major artists don't
have the kind of deal
we do. They've given
us complete artistic
freedom, and not
only at our request,
but they really want
us to have it. I think
they really feel we 've
proven something
by now, so it's a nice
position to be in. I
mean they really are
getting behind us;
us doing what we
do. They're not
trying to change us.
They seem to be
taking us quite seriously, and I appreciate it.
Hallucinogens?
Have they ever
played a part in the
Cramps act?
I suppose that's just
one of our many influences. I mean,
we've all done them,
so you can't turn back on that. There's no
going backwards there. So that's definitely an influence.
Poison Ivy, what is your favorite Poison?
Oh my...
C'mon you know the answer.
No, I don't.
Strychnine!
Only in moments of supreme faith. Actually, we just came from Spain and we were
really hoping, but we didn't have time, to
find some absinthe there, 'cause it's
something that's very hard to get except
in Spain and parts of Europe. I've never
tried it, so I was kind of intrigued by that.
Who is Kurt Perkheiser?
I don't know.
Who is Chris Wallace?
/ dunno. I don't want to answer those
questions, they're rude.
Reading is fun and healthy. Do you have
any fanzines that you, like, browse
through?
/ liked the one... I think it's done now, Maybe Tm shy.
"Sleazoid Express" was a good one. I also
like the little magazine that Hollywood
Book and Poster puts out.
What about "Kicks Magazine"?
That one is a little too anthroplogical, kind
of like from the Margaret Mead point of
view of "Look what I dug up." They're not
like the people they write about.
Are there any movie or TV appearances
coming up for the Cramps in the future.
Yeah, actually today! We're doing a TV
thing today for a show called "After
Hours." And we do a lot of television in
Europe.
Don't you have some association in the
shady past, dear Ivy, with Miriam from
"Kicks Magazine"?
She was a drummer, briefly, in the
Cramps, a long time ago. At that particular time she disliked rockabilly. She didn t
like the music that we make, or she was
putting it down all the time. All she liked
was the Dictators and various new bands.
Now she writes about rockabilly and says
she loves it, so beats me.
One evening in Hollywood do you go out
and groove to the scene, and check out
new bands at all?
Not very much. We mainly kind of have
our own little world here at home. We go
out once in a while, but basically keep to
ourselves.
What about Hollywood's favourite children, Redd Kross; are they sort of the
bastard heavy metal sons of the Cramps?
They're good. I dunno if they are any of
those things, but they're a fun band and I
dig watching them.
And Mick Jagger and Ray Davies, have
you ever met those two L.A. faves?
No, I haven't.
Do you ever express a desire to?
No, not particularly. I certainly admire
Ray Davies a lot, but I almost don't feel a
need to meet people I really admire.
Who do you think is the Cramps' biggest
critic?
/ have no idea. I'm not sure that we would
pay that much attention to the Cramps'
biggest critic.
What is the most
mis-matched gig
the Cramps have
ever played. Like
you guys playing
with Depeche Mode
or New Order?
Umm, probably a
show we did in Dallas Texas once, at
some small club.
We were sandwiched in between
two bands that both
were, like, huge
guys with beards.
We were the middle
bill, and the opening act and the
headline act did
Jimi Hendrix songs
and Doobie Brothers songs. And we
were in the middle
of that in Texas, and
we were not welcome there... that
was kind of frightening.
I was wondering
Ivy, do you think
that John F. Kennedy possibly was
murdered by
Richard Nixon and
CIA?
Boy, I don't know
anything about that.
Tm afraid that's not
one of my big departments.
American politics?
Ya, I don't think Tm too authoritative on
that one way or another.
What about Canadian politics?
/ know even less.
Do you know who the Prime Minister of
Canada is?
No, I don't.
Thanksforyour time, Poison Ivy, see ya in
Vancouver!
Bye.
Backstage at the heavily securitized
Commodore Ballroom April 12th:
After a mind-boggling Cramps show
in which the band played every single
tune off "Stay Sick!," complemented by
old standards like "Primitive," "Mystery
Plane," "Tear it Up," "Psychotic Reaction" and "You've Got Good Taste," I
managed to lasso Lux into answering a
few Crampsian questions. Yes, Lux Interior, the lead singer who earlier in the
evening had sweated up a storm, punked
out, fondled his leather "uniform" and
even rolled around in mock sexual positions with a very willing, plasticized Vancouver human barbie-doll.
Lux, when did ya first star to sing and yell,
and become a crazy rock 'n' roller?
Well, when I was very young my brother
used to play "You're Cheatin' Heart" on
the piano and I remember that was the
first song I sang. "St. Louis Blues," was
another song I sang, just at home with my
brother playing piano, and then I sang
"Hey Jip!" with a band called the Perpetual Davenport... and that's all I remember
before the Cramps.
Do you think you need a bit of training to
do vocals?
No, you need training if you're gonna be a
crooner.
So you did have training?
No, I didn't have any training.
How about Ivy, did she get much rock 'n'
rolling guitaring lessons before she
started?
No, she's really smart. She just learned it
by listening to records.
What was you r first studio attempt? I was
looking at a song on the record "Rockabilly Psychosis and the Garage Dis-
cease." Was that yer first venture?
No, that was the second time we were in
the studio, and that was when we recorded "Gravest Hits." But the song
you're referring to, "Red Headed
Women," was a much better recording
when we recorded it. Later on Jim Dickinson added synthesizer to it and all kinds
of little funny noises. I don't like that
version very much. The original version is
just the four of us and him playing piano,
and him singing, and that's good. But I
don t like that synthesizer shit!
Why did you move to L.A. The Great
Hollywood?
'Cause I love L.A. It's a real great city.
Outside of Spain, I wouldn't think of any
place else I'd like to live these days. Except I do like Vancouver. Vancouver's
awful nice, except I don't know much
more about it, except what ya see when
you're here for a couple of days.
Yvonne De Carlo is from Vancouver.
/ know that.
And Eroll Flynn died in the British Properties of a cocaine overdose with his fifteen
year old lover.
I have a great movie of him and his fifteen
year old lover called "Cuban Rebel Girls."
It's pretty boring but that girl is a real
knockout.
Did Brian Gregory...
/ don't answer any questions about him.
What movies have the Cramps been featured in?
Uhh, none that I'd care to say anything
about. We've been in some movies but
we'd rather make our own movie.
"Near Dark"?
Yeah, that was a good movie. I like that.
That's the way vampires should really be.
They're all Hell's Angels really. All vampires today are Hell's Angels.
Here's an appropriate question, Lux Interior. Do the Cramps give many interviews?
Well, I dunno
Because I want the scoop. I want the
Cramps scoop. Like, everyone around
town is doing Cramps articles, can you
give me the Cramps scoop. Like a one
liner, give it to me please, Lux! Don't
make me work for it.
There's no Cramps scoop.
MAY 1990 7 MAY CONCERTS
iCiTR 101.9 fM Presents WEA Recording Artists THE
CHILLS from New Zealand with special guests WEA Re
cording Artists ELEVENTH DREAM DAY from Chicago
I DICKY D • UNDER RAIN • INTOXICATORS «
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THURSDAY 1
FRIDAY 1
SATURDAY 1
THURSDAY 2
FRIDAY 2
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its CAUSTIC THOUGHT «
THE KILL • DECADENCE
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,ma Recording Artists THE FORGOTTEN REBELS with
5ts from New York A&M Recording Artists AGITPOP
THE ENDANGERED • M.S.U. • THE LUDWIGS
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j SHE STOLE MY BEER • DIC SCENE
I POPULATION • THIRTEEN • STATUE PARK «
IDIOT SAVANT
1 SECOND NATURE
TOWN PUMP
66 Water Street Gastown by Andrei Lupin
G_
An Interview with Phranc
by Andrei Lvpini tod Peter Lgtwyche
| earing Phnnc live, eilher in concert
i different
lo listening to her rec-
| oeds. She is i story-telling folk
such, she worb best
| in intimate live situations. Whilst
her billing As < "Lesbian Jewish Peminist with i
severe flattop ind combat boots" leids to expectations
of in mgry, confrontational performer, in reality she is
open, honest ind yes, frink, but into cotnmunicition
rather thin confrontation. We Hiked to Phnnc when
she wis list in Vancouver in January, before her show
at the Town Pump.
Are your audiences getting bigger?
Yeah. Well, after ten years of opening for other people
and trying to win them over into my audience most of
the time, I have a pretty good mix,
which is my favorite - just to have a
very eclectic mishmash of all kinds
music out there that's very good and very sincere and
then there are always those people that're gonna jump
on the bandwagon. After doing wha! I've been doing
for so long, wanting a folk thing to happen for so long,
just when I had given up all hope, all of a sudden it's
the fad. I take a poke at myself in that song too, because
my first album was called "Folk Singer." That came
out in '85, before the term had struck, and it was very
difficult to be sitting there not being able to get a
record out, no one taking me seriously, and all of a
sudden Wow! it's the folk music revival! Everybody
wants to be a folk singer.
How important is it to you to advertise yourself as a
lesbian Folk Sin|er"?
I don't feel that I advertise myself. I feel that I let
people know that I identify. My music isn't exclusively for lesbians, most of it has nothing to do with my
sexuality. My sexuility is not i bigger part of me than
that song seriously? I mean, you'd have to be pretty
unconscious to swallow that one whole. There's a lot
of humour in my voice. Even though I'm singing the
original lyrics, you can tell I'm cracking up when I'm
singing. I do it as a consciousness-raising number.
They play "I Enjoy Being A Girl" on Muzak a lot, too.
It's a very popular show tune ofthe '50s. Doris Day did
it and Pat Suzuki.
How did the album cover come about?
I really wanted to do a spoof on all these teen idol
covers. Those gorgeous covers of the late '50s and
'60s, which were so beautiful and I just thought it
would be a lot of fun since the first record was so stark,
so black and white.
In your song "Take Off Your Swastika" you criticize
people who wear swastikas as fashion accessories.
The Cult recently got into trouble in the UK because
You opened for The Smiths, that audience would be quite different from
your usual audience.
Well, now people are coming to
shows where I'm headlining and
saying, "I saw you at The Smiths." I
think it's really important to play for
ill different audiences - making
myself available and accessible to go
out on tour and support other acts.
It's often really a challenge for me to
win over someone's tudience, but it
only benefits me to try ind build my
tudience ind expand my ludienoe to
include everyone.
Do you still get nervous before you
perform?
I always get nervous but I've come i
long wiy. Years ago I used to get
nervous when I woke up on the morning of a show. I'd look at my clock
and go, 'Ten hours 'til soundebeck!"
It was just hell! But the minute I'm on
stage I'm okay. It all goes away, I'm
comfortable.
Who do you listen to?
I listen to Van Morrison, They Might
Be Giants. I'm a big fan of k.d.'s.
When I'm in my car I listen to top
forty country radio. I like it because
there's a lot of humour.
Do you listen to any children's artists?
I like Raffia lot I'd like to do a kids'
record one day, or do a little tour of
kids' bookstores or something.
When you write a song like "Bloodbath,*' where do you start from?
Emotion. That song comes from feeling helpless and angry. Because
whether I like it or not, it doesn't
really matter that I'm a woman, that I'm a lesbian, that
I'm treated as a minority. I live in a country that does
nothing to help the black people in South Africa, and
I'm white, so I'm the oppressor. I'm part of the problem, what can I do to be part of the solution?
Do you see yourself as someone with a political
agenda, who jut happened to start singing?
No, I'm a folk singer. I write songs that tell stories.
That's the music I grew up listening to, the records that
my folks had when I was a kid. The music was always
very simple, and really a vehicle for the lyric; and my
music is really very simple. I'm not a fancy guitarist;
it's really a vehicle for the lyric. I feel very comfortable with the folk format and the ballad. I think it's an
excellent way to communicate and to tell stories.
What do you dunk of the current popularity of folk
music? You took a swipe at the image in your song
"Folk Singer." What do you think of Tracy Chapman?
I think she does a good job. I think she's a positive
example for young women. I think there's a lot of
my hair or my shoes. You can see my hair or my shoes.
When I was growing up, there were very few
lesbians that were out, and I thought I was the only one.
So I've made a commitment to just be out I feel good
about who I am. I have received a lot of support from
the women's community and I've made it my job to go
out in that big world and just be who I am, come out as
I think young people should have a chance to
grow up and be whoever they are, whether they're
heterosexual or gay or lesbian, and know that they can
have happy and productive lives. It's frustrating to me
that most of the time the media chooses to focus on my
sexuality more than my music. And that's the price I'm
paying.
You sing "I Enjoy Being a Girl" almost completely
straight. The humour comes in because we know who's
singing it How would you feel if that song started
letting airplay without the commentary - does it worry
you?
No, because I think in this day and age who can take
Billy Duffy wore a swastika T-shi
and Ian Astbury has stated that he enjoys "Nazi chic."
Does this depress you, given the huge popularity of The
Cult amongst young audiences?
Saying that it's acceptable in a fashion sense is being
completely ignorant ofthe historical symbolism of the
swastika. They're not stupid people, they're very smart
people, and it's very irresponsible. That's what's difficult to swallow -if you're a performer in public, with
a lot of younger audiences, you know people look up
to you and there's a lot of Cult fans who are gonna get
[swastika] T-shirts so that they can be cool.
When I was in punk bands in LA, which is
where I wrote the song from direct personal experience, I had people all around me wearing swastikas
'cause it made the old people in the street mad, 'cause
it pissed their parents off; they got a reaction -I think
it gave them a sense of power. These weren't stupid
people either. The song was written in rage. Being a
Jew, being a lesbian, the swastika to me is a symbol of
absolute oppression and death. When I perform this
song I talk about how fascism and anti-semitism and
racism and homophobia aren't things that disappear.
The song is still very contemporary, and it's sad.
You're Jewish, and you're
seiual politics. What's your standpoint on Middle East
politics?
I don't think either party is right. I think Israel is wrong
a lot of the time. I've been working on a song about
this. I grew up in a nice, white, middle class Jewish
family, where they sell Israel bonds at temple on the
high holidays, Israel is the promised land, the land of
milk and honey - Israel can do no wrong. Israel was
perfect in my mind. It's the way I grew up and I
swallowed it whole.
It wasn't until not very long ago I had a political
discussion with a friend, and they said, "How can you
be so Wind?" I said "What do you mean? I'm a Jew,
Israel is it." Then I had my eyes opened up to the situation- fighting and killing each other over a piece of
land.
And when I was at the Vancouver Folk Festival I met a woman
there, a yiddish folk singer, an
Auschwitz survivor, and she lived
in Israel for fifteen years and she
moved back to East Germany because she couldn't live in a country
where the Israelis did to the Palestinians what the Germans did to the
Jews. That just hit me. That was
really, really powerful.
What does being Jewish mean to
you?
It's a sense of family, and tradition,
that I love. I don't focus on how mi-
sogynous the Jewish religion can
be, or all the places where women
are excluded in Judaism.
Often lesbian women talk of alienation from the family because of the
choices they made. You talk of love
and support It can't have been easy
for your family to accept the choices
that you made.
It's been a long time. I've been out
for fifteen years as a lesbian. I came
out when I was seventeen, moved
out of the house because I couldn't
be a lesbian in their home. I spent a
lot of time and a lot of energy communicating with my family, and
through a lot of work on both our
parts I'm very close to my family
today. But it did not come easily and
it didn't happen overnight.
I've redeveloped my relationship with my grandfather in the past
two years. My grandmother would
always take me aside and I could
always identify with her when no
one else would have anything to do
with me. She was always there.
Since my grandmother died it's
been very difficult (for my grandfather), and I found myself just being
there all the time, being very involved with the funeral, being close
with my family and being with my grandfather. My
grandmother had been sick for a long time, and last ha-
nukkah my grandfather took me aside and put his arms
around me, gave me a kiss and he said "Sorry." My
grandfather is not a man who apologises and will never
admit that he's wrong. He said that he loved me. 1 still
get choked up thinking about it. We've become very
close and he's proud of me now.
You're optimism is impressive. Is it because you have
a reference point to a time when things were wane?
I'm not happy (about the state ofthe world), and I'm
angry, and I get frustrated, and I feel small, and the
world can't change fast enough for me. But I've
learned, I think, to challenge it I'm just as angry but it
doesn't always work when I'm communicating to be
that angry. It's easier and more effective to channel my
anger in maybe different ways, add more humour, deal
with issues in a way that doesn't hit people over the
bead, in a way that lets them open up, think about an
issue without shoving the issue in their face. It's hard
not to [shove the issue in their face] sometimes. ^^^BH
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RECORDS • CDS • CASSETTES
RAP » REGGAE » POP » HOUSE » JAZZ « SOUL « ROCK » BLUES "It seems to be some sort of neoclassical thing again
and music at the moment is now at the point where
it's trying to justify itself"
Ellard: It's an ignorant question in a
lot of ways. A lot of people say,
"Why don't you sound like Bruce
Springsteen?," you know, bij
rocky. You ha
Bruce^m^^
machines
ingsteen
icing packages as I used to do
nusic He produces his stuff. I
There's nothing
produce my <
by Lloyd Uliana
Join the Rhythm of Machines.Fridays 12:30-4:00 AM
"A machine... the definition of a machine is a very broad one.
Anyone who has used a spade is using a machine and to
criticize shovelling snow as being less fluid and artistic because the person didn't get down and use their hands is a sort
of spurious criticism. To extend that a long way, I'm using a
very basic connection here, but the machine is simply a tool.
It's just an extension of your arm. It's an extension of your
brain.
If you really want to look at the
whole position, you can say that your
body is a machine that is run by your
mind or your soul or whatever. It's
very much about where you see
yourself and your work starting and
ending. I see myself starting with
ideas and the ideas of oth_
work with and going throi
lot of machines. Not only HHH
sizers and stuff, but the P<9^^H>
work with and yourself fori
machine; and the tour you
on is a machine.
The whole process of i
sort of machine and I don't
these machines are different elcept
their usage is very poxy. Peoph
use synthesizers don't often try
get to know each machine very
They just acquire more of t
which is crazy! Completely craz;
That's why you get so much nothinj
music around."
Tom Ellard is Severed Heads. A
seemingly permanent fixture on
dance music charts in recent years
with such singles as "Big Car," "All
Saints' Day," "Greater Reward,"
"Hot With Fleas," et cetera, Ellard is
responding to an accusation that the
use of synthesizers (i.e. machines)
carries with it a lack of spontaneity
and instinct. Ellard and video-originator/mixer/cohort Stephen Jones
opened their Rotund For Success
Tour (with MC 900 FT Jesus) in
Vancouver in early March. Lloyd
Uliana met up with Sydney, Australia's Tom Ellard.
12 DISCORDER
vague way of
done. It's
saying, "I
pletely aT>iu4_JI<WI^Wl_a*<"noise
collages, and other experimentation
that make up your first three albums
("Since the Accident," "Dead Eyes
Opened," "Blubberknife") and appear occasionally on "Come Visit
the Big Bigot" and "Bad Mood Guy."
Do you have any intentions of ever
pursuing that style again?
E: Yes, yes. That stuff is still being
recorded. The band is a very large
band. There's only two people who
actually stick their mugs on the covers (Ellard and Jones), but there are
a lot of people who pick and choose
the stuff including the people who I
work with at Volition Records
(Australia). I record a lot of stuff and
then we sit around and work on
what's going to turn up under the
banner. The conditions are that it has
to have been the sort of stuff that
we're putting out now. But there's
certainly other material that can be
used.
The reasons for the change are
reasonable. Number one, experimentation for experimentation purposes is a wank. You experiment to
find the things that you find personally satisfying and then you explore
them.
I am personally satisfied with
the sort of nuances that I'm working
with now on "Rotund For Success."
On earlier records I really feel like
there's a hand pointing down and
going, "Hey, this is wacky, this is
interesting, wow, they're using this
technique. It's very futurist, wow, I
haven't heard anything like that."
That's fine for a while, bul if you
keep on doing that you're a wanker.
Those little hands have to be swept
away.
Every little sound on "Rotund
For Success" has actually got just as
much work and detail input into it
but it's not with neon signs all over
it. Rotund has a lot of really strange
ways of coming about sounds, but
we're not advertising it anymore.
D: "Big Car" sounds really philosophical ("Here are sights I may not
see / Shine a light on me / Here are
paths I may not tread / Shine a light
on me") What's it all about?
\E: None of the songs are about anything particularly specific. When
<;._%>u disguise real world situations,
they sound philosophical. That's all
philosophy is, anyway; taking a
problem in the real world and tum-
d generalities.
'A lot of the songs I'm writing at
the moment just tend to be about
what you'd really like to be doing
with your life and the reality of it.
Lifafts so short and you really should
>t going for it, but you just don't
|it around to it. Then you wake up
rand you're old. "Big Car" and
"Greater Reward" and all these
songs aren't all about this, but they
do tend to relate to the difference
between reality and what it could be
and that's a big preoccupation, I
suppose, on my part.
D: It's hip to dance again and the
corporate labels see dance music as
some sort of saviour. Where do you
see it heading in the '90s?
E: What's going on at the some folk music revival. That's what
the majors are playing at anyway.
The majors have found folk music as
some sort of saving mechanism
which means they don't have to
support dance music. Dance music
was the thing that was going to keep
them going, but it's tricky and cantankerous, whereas folk music you
can get everyone into it from six
years old to sixty years old.
I think dance music is going lo
become more and more of a ghetto. I
don't have much confidence in it.
Obviously some people could come
along and correct me quite wisely in
that respect. There's so much stuff
which is just like turning on a drum
machine and away you go. There's
quite a legitimate concern: "Why am
I buying this stuff... fuck it all off!"
There is good stuff going on in
dance music, but it's going down the
google hole with all the bad stuff.
It's like the indie punk stuff of the
late '70s. There was lots of really
nice singles around then, but there
was just so much schlock that after a
while you just didn 't feel like buying
it anymore. All these sorts of poxy
bands that came along at the end of
D: It just seems that the line between
what is considered underground
dance music and what is mainstream
dance music is disintegrating. For
instance, not in this country, but
certainly in the US, support for the
Severed Heads has allowed for
crossover into the Billboard charts.
E: Yes, but crossing over into Billboard doesn't really signify all that
much. It means more within the industry than it does to the average
listener. As far as the average listener is concerned, we don't exist.
For our fans, I suppose they just see
that we've softened and with the
softness has come more attention.
We have softened in a way, but that's
only part of it. That's the ice cream
on top of the rock.
Music...you start off with constraints and the constraints become
less and less and then it becomes
options and then it gets to a point
where it's almost mandatory to be as
grotesque and overbearing as possible. You've seen it in painting,
where you've gone from very studied portraiture over to all sorts of
bullshit, basically. People just
started throwing paint at a canvas
and saying, "There you go." Then
they've tried to justify that by saying
the act of throwing the paint has a
legitimacy. Then people started calling the bluff and it is just garbage. It
seems to be some sort of neoclassical
thing again and music at the moment
is now at the point where it's trying
to justify itself.
D: It's "At the Movies" time. I'm
going to bark out a band name and
have you reply with some opinions
on them, alright?
First off, Depeche Mode.
E: They write great singles and their
albums are terrible. The albums are
really stodgy but the singles are quite
nice. They write nice pop songs. By
all accounts they go on about world
peace and love, but basically, they 're
just rock and roll attitude. "Save the
trees, chicks after the show."
I think Daniel Miller, the producer, is the real star of that particu-
Nitzer Ebb. Nitzer Ebb don't seem to
have much of a sense of humour to
them.
D: Midnight Oil.
E: There's two aspects to Midnight
Oil. Aspect number one is the songs
which again, I find really dull. It's
like "Johnny B. Goode" and variations on that sort of sound with a
couple of English producers thrown
"That's all philosophy is, anyway; taking a problem
in the real world and turning it into generalities."
lar exploit. It's particularly more
pleasant than most music, so thumbs
up to Depeche Mode.
D: Einsturzende Neubauten.
E: I just find the whole sort of thing
dull. In Australia there's this joke; it
goes, "I've got spiders crawling up
my anus." 'Cause there was this band
who thought they were Neubauten
and this line came along: "I've got
spiders crawling up my anus!" Everyone just laughed and left. They're
a "spiders crawling up my anus"
band... bash-bash-bash-bash-aagh!-
bash-bash-bash-bash-aagh! It's fine,
but I'm not interested at all.
D: Nit:
rEbb.
E: I just find there's something missing. Half a record. The record I have
should have been done at two levels.
You could buy the CD and there
should have been another CD with
all the melodies that you could play
along with it. It's really DAF all over
DAF were sort of kitschy and
that was nice. They had that big sort
of brutal guy - "Roar! Roar!"- and
they get the little girlie singing and
stuff. That was more funny than
And then there's the political
aspect of it. A Midnight Oil concert
is basically the big bald guy up on
stage going "Fuck the Americans"
and everyone in the audience going
"Fuck the Americans" like "Sieg
heil, sieg heil." It's like a political
right wing rally with all these bald
guys in the audience and the bald guy
on stage. The words are good but the
way they are forced makes it
sloganeering.
If you' ve got space in a newspaper you've got media access for one
reason and they exploit it for other
reasons. Not so much Midnight Oil
because I do believe that Peter Garrett in his political activities in Australia has earned some respect for his
thinking.
But there's this band that did a
Vietnam veteran's song and they got
their half page in the entertainment
section. It was all about a Royal
Commission that was going on for
the Vietnam veterans. And they're
saying, "It's all lies. The vets are
right. The government's lying. Blah
blah." The commission hadn't finished. None of the findings had come
out and yet here was some bunch of
dildoes coming on saying, "We
know. We're a band, we know." And
they're getting media space. That
sort of thing's just got to be stomped
on like cockroaches. VANCOUVER'S HOTTEST BLUES NIGHTCLUB
MAY 1 -5 Mark Hummel Band
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1275
SEYMOUR A ROOTIN' TOOTIN'
iHSiiiaiis
arch 22nd, 1990, a day that
... jo down as one of the worst
days in the history of Canadian
radio. For it was on that day that
the final episode of Hootenanny
d on CiTR
Song, the
_ Jeja Voo-
., Love Battery's
en the Eyes," and that Mel
"whaling songs" thing. But
.. .Jootenanny
without 'em.
il, not only
ns of music and the lives of
its stars, but about the world
nrnnnH us. Where else could you
here to get a throw rug
ember of the I"
ily quite well. We
... s one time roi
icott's three-headed sister, and
_if Valerie's on again off again affair with Loverboy vocalist I
Thling Again:
Scott fail
ing he had to "\
sweatshop." Bill countered fc
saying that he had to "s**"*"*
at the workshop." Yet
rhere they really got the
wa
I WHAT ARE YOU DOING SATURDAY NIGHT ?
mm
DAYS ft.
•fflflWJ'.'ll-llrlliTl
msic played
e could ponder a past, present or
iture liaison between Bill and
Val. But don't forget Scott and his
catchphrase, "Nah, I got nuthin' to
say."
Between the witty banter of
"Bill and Scott," as they were affectionately known, and their
kooky post-punk guitar grunge
music, there was... that gal, that
voice. The one they -
when something puzzled tl
"Let's Ask Valerie." Sure, Valerie
usually told them what they'd be
asking and often laughed at her
"~e
listened intently to tales of her
upbringing in that Irish neighbourhood in Australia, of her
ploits, her London theatre career,
and her Arctic and Amazon adven-
SATURDAYS <L\30-9O0 PM.
IWUlll.l.lIJ.IUll
drunken nearly-incoherent slu
against the station they <
ingly referred to as "me o
Mama," they
ir by a cei
the til
burgers and forgot to eat thei
Hey, we even got dating tips and a
guide to bondage.
After fifteen years, Valerie finally got her own theme song. Of
course, the Monkees were commissioned and after spending a
ioushunk
to support the local band scene.
"Im discovered her favourite TV
Jalloween
parties, and that cash is the perfect Christmas gift. We also heard
of "assholes at Shenaninans" Hir.y
■HilMili-H
.. ..ras about this time that the
t's Ask Valerie Army (LAVA) ap-
ared on the scene which sig-
illed the beginning of the end.
II and Scott's jealousy of a 5-10
lent during their 4 1/2
>ur show (with a fan club 15 000
rong) became too great a strain,
with drugs
lain, but this time, without the
on't try this at home, kids" warn-
gs. They began bickering in front
stunned studio audiences. The
miliar HSN slogans of "Working
gether to keep BC strong" and
eating sworJ- 5 *7 don't care about what somebody
says. Like they say, I'm controversial."
I ollywood, California
HI 990: After 3 days of
driving up and down the
Pacific coast highway,
I here I sit dizzily watching a tacky, live-stage version of the
Conan story.
"Wow!" my lady friend exclaims as
she watches in amazement.
"God, that's entertainment," I
say. "But they haven't got it right.
Conan should gave a lot more
muscles and Sonja should have a
much larger chest — actually, they
both should have much larger
chests."
"Shhhh!" she says as the hippie
wimp-style flat-chested Conan steps
up and grabs a sword sticking out of
the stage floor which causes him to
be engulfed in an horrendous amount
of smoke and lasers. A shadowy
figure emerges from the smoke. It
is... Conan! Except that his hair has
magically changed colour and his
body has suddenly swollen, inflated
by some strangely invoked steroid
spell.
"Gawd, when is it going to end,"
I mutter.
"Shhh, it's okay," my lady
friend says as she and at least 500
other females ogle Conan's chest and
other parts of his anatomy.
Mature as Samson wasn't this sexy,
nor as well developed. Come to think
of it, neither was Gina Lollobr-
idgida!
When the torture ends, I attempt
to wash off the female hormones
which I feel have drenched me. I
then make my way
towards the
telephone. I have other kinds of
chests (and hormones) on my mind.
"Where are you going?" my
now seemingly unimpressively endowed lady friend asks me. "Aren't
you going into the gift shop with
me?"
"No." I go to the phone and dial
the number.
"Hello. R.M. here."
I reintroduce myself and ask
when it would be convenient to come
over and interview him.
"Around six o'clock. Is that
alright?"
"Yes, that will be fine."
As we leave the home of cross-
dressing cartoon characters, otherwise known as the Universal Studios
Tour, we come across Hollywood's
rush hour traffic, which is in its usual
state - a standstill. Eventually we get
moving towards Russ' house.
"Who is this Russ Meyer guy
anyway?" she asks.
"We are talking about one of the
few people that has pretty much total
control over the films he makes. He
was a photographer for Playboy,
then he made "The Immoral Mr.
Teas," "Faster, Pussycat, Kill!
Kill!," "Beyond the Valley of the
Dolls," "Beneath the Valley of the
Ultravixcns"... I
can't begir
describe
what he
done!"
"Oh..."
We pull up to the front of his
house.
"This is it," I mutter to myself
as I pull my equipment from my car.
I go up to the front door and ring the
bell. After a suspenseful minute or
so, he answers the door.
"Come on in. You'll have to
excuse me, as I am in the middle of
this basketball game."
"That's alright," I say as I study
the interior of his humble abode. We
sit down in his living room. My
companion looks around at the
multitude of press clippings, nudes
of Russ' leading ladies, and foreign
posters of his films. I had never in
my life seen so much
Suddenly I realise that nothing is
reading. It is probably the most
embarrassing moment of my life —
my equipment is failing and I am
struggling to get it to work.
"I'll be over here it you need
me," Russ says as he gets up to watch
the rest of his Lakers game.
In light of what had transpired,
I check my equipment some time
after the failure. Of course, it works
perfectly, without plausible explanation for the earlier problem. The
only thing I can suggest is perhaps
the ghost of Martin Bormann, so
mischievously portrayed in many of
Russ Meyer's films, interfered.
Well, I am still at a loss as to
what happened, but fortunately Russ
later consented to do the interview
16 DISCORDER You have a dislike for Canada Customs. I was wondering why?
Why, your whole structure is archaic. In censorship, in stickers that
have to be on videos, particularly
Russ Meyer's. It's almost run like a
police state. Police can knife in, and
knock over a guy's store and impound his video cassettes, the whole
shebang.
Well, it's not really quite like that.
I'll put it this way: I cannot release
my films in Canada.
Have you tried?
Yes, we've tried to release them, and
feel that there'll be no problem. It's
the poorest market, short of Korea,
that I have experienced.
What was the problem with the
Koreans.
They're thieves.
Well in the future, would you ever
consider releasing your films in
Canada if the problems were
cleared up?
Sure, I'd release them in Canada.
We've dealt with this, my distributor
and I, for too damn long, with what
was her name, Mary Brown, the
woman who had two-foot long feet...
You're talking about the, uh...
...built like a hoe handle. No, no, I
don't take any heart from this. I
encounter your people always at
trade shows. They have the same
story, "Oh if we could just get your
films up there." I only had one guy
who had the balls, and I can't remember his name. He bought forty
cassettes, but he had to have them
shipped to his brother-in-law in
Kentucky, then brought them across
the frontier in the boot of his car. So
I have a total negative attitude towards your Customs, and your customs.
Well, from my own research just
before I came to meet you, I sort of
agree with what you're saying, in
terms ofthe censorship, because I
found a couple ofthe rules in their
guidelines to be very ridiculous,
concerning anal sex, or the suggestion of anal sex. And I used "Beneath the Valley of the Ultravix-
ens," as an example. And the
Canada Customs guy said, "No,
I'm sorry, they talk about it."
And it's best to forget it. I'm not
going to lose any sleep over it. The
hell with it. Occasionally a brave
soul will send his money and we'll
send him a cassette, and it goes. We
don't send it UPS or anything, we
send it regular mail, certify that it's a
video cassette, and they get them.
We had one guy in B.C. that didn't
get his.
Really?
Sent it twice. Each time the eagle-
eyed guy who looks more austere
than some Sandhurst second lieutenant intercepted it.
Going on to some of your films, a
friend of mine was wondering why
"Faster Pussycat" was out, and
"Motor Psycho" wasn't.
Because I didn't feel like bringing it
out. It takes time for me to master
these films, video masters, and to
have the time. And now I've done it,
but it still isn't out. It's ready for
German television. Someday it will
be on video. When I'm ready, when
I get rid of my book, BRM, the
"Breast of Russ Meyer," and do a
sufficiency of fishing, then it will
come out. I just don't feel like doing
it now. I have the master done, but I
haven't the time to devote to distributing it. Have cassette boxes made
and all that. I have more important
things to do.
You've just sold some films to German television?
We don't sell them. We let them
have license to show them in West
theatre, fortunately, as far as I remember, 'cause it was part of a
midnight show series, I don't remember the motorman's punch. I
seem to remember the pubic hair
remaining intact.
Well, I don't know who had the print,
but we had some difficulty with a
schlock operator out of Montreal
showing my pictures without justification. So a lot of my films have been
shown in 16mm. We had a Canadian
distributor who had been licensed by
an American whom I am seeking to
incarcerate. The Canadian distributor seems to be an alright guy, you
know, submitting a lot of evidence to
me where the pictures have played in
16mm.
so high - that would go to the Sloan-
Kattering Institute - that he couldn't
possibly afford me. I don't like Mr.
Waters, I don't like his films, and I
don't like what he does when he
interviews you.
Okay.
Now, who else do we hit?
When does your video come out?
Of what?
Of "The Breast of Russ Meyer."
When I'm ready.
How long do you expect it to run?
I don't know, maybe a year, maybe
two years, maybe five years, who
knows. I've got many other things to
do.
Do you know what the running
time of it would be?
"You have the Meyer obsession, the obsession for tits. Big tits. Meyer's obsession for
satire, the send-up. Nobody makes a better Russ Meyer picture than Russ Meyer."
Germany. They will show ten films,
uncut. That's a ritualistic thing for
me. If you have to cut, don't play it.
I just sold one to Finland. No cuts;
"Supervixens," the bathtub stomp,
the dynamite up the ass, all of that.
Canada though, oh. You know what
we had to do when we showed
"Supervixens" on screen?
No, I don't.
We had to punch out the nether regions of all the girls, pubic hair, with
what we would call in the United
States a motorman's punch. Like
they used to have on buses and streetcars. In order to transfer your ticket,
you'd have to have it punched, you
have a little hole made in it. So,
ridiculously, I punched out all the
areas that showed pubic hair.
Really.
It was like, watch the bouncing ball.
When I saw "Supervixens" in the
I guess because of things like this
motorman's punch essentially destroying what you envisioned for
the screen, I guess this is one of the
reasons why we're not going to be
seeing "The Breast of Russ
Meyer."
Oh, you couldn't handle that, no way
could you handle that, there's so
much pubic hair. There's even a
hardcore sequence with me and Kitten Natividad. Oh no, you haven't
got a chance, a ghost of a chance. It's
just concentrated tits and sex, unrelenting, non-stop.
John Waters referred to it as
"Berlin Andertits," and said it
would probably run around twelve
hours.
Fatuous man, I don't particularly
care for him. He's got a lot of opinions. He offered me a job in his new
movie. I was pleased to price my fee
It used to be about seventeen hours,
probably four hours. I've got much
work to do, much work. And I don't
feel like working. You see, you've
got to be hungry in the film business,
to work hard, and I'm only working
on the book. That's my only interest
at the moment.
And when do you expect the book
to come out?
I don't know, I won't say any more.
When it's ready.
When it's ready.
Yep.
And as you were telling me, it's
going to by around ninety dollars.
A hundred and thirty-eight fifty.
A hundred and thirty-eight fifty.
In two volumes. You're only doing
a limited run of this book?
Five thousand.
Five thousand. A normal person
wouldn't be able to order this
through their bookstore.
No, there's only a few bookstores
that are buying it, because I don't
give any discounts. They have to
pay. The consumer would have to
pay more than a hundred and thirty-
eight fifty. But by and large the bookstores just want to own it.
You take a certain amount of stringent quality in the way your films
look. As you were saying earlier,
the transfer of the videos has to be
good for videotape. I've talked
with a couple of people who have
worked with you on transfers and
they say you're a real stickler for
detail.
Quality.
Quality. This goes through all of
your videotapes?
Yes, they're all handled the same
way. They cost a great deal. "Motor
Psycho," for example, cost nearly
4500 dollars, four thousand five
hundred dollars US, transferred from
film to one-inch masters. It's in a
vault and it will sit there. The Germans have their master, that's all I
The Germans, when are the Germans going to be showing their
film?
They're going to be showing it later
this year. They're going to pay
roughly a million dollars to show
them twice, ten features, no cuts,
starting with "Mr. Teas," up through
and including "Vixens," no cuts; you
know, at the time that little Hans is
down eating his strudel and his
wurst, at eight o'clock at night, atthe
family hour.
Well, that's always pleasing. Let's
see, how do you feel when film critics and fans attach symbolic meaning to your work?
Well, I think it's fine. Whatever they
want to say, it's great; all these kinds
of ideas as to what Meyer's trying to
say.
Some ofthe more well-known film
critics in North America feel that
you are the only true auteur of the
cinema. Russ, have you always
found it difficult to give some of
your creative powers to others?
You have the Meyer obsession, the
obsession for tits. Big tits. Meyer's
obsession for satire, the send-up. Nobody makes a better Russ Meyer
picture than Russ Meyer.
There used to be a little running
gag through some of your films involving Martin Bormann.
Yes, regrettably, the gentleman,
Henry Roland, passed on over the
Great Divide. I used him because of
incorporating him originally in "Beyond the Valley of the Dolls," and
then I decided for him to become a
running gag, as it were, in other
films. I helped with his hospitalization; kept him up to snuff as far as the
Screen Actor's Guild was con
The famous movie critic and
friend of yours, Roger Ebert, whi
is still the only film critic in North
MAY 1990 17 100% COTTON T • SHIRTS
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132 Powell Street, Vancouver America to win the Pulitzer Prize,
has never made any secret of the
fact that he co-wrote the screenplay to your 1970 movie, "Beyond
the Valley of the Dolls."
Well, he essentially wrote "Beyond
the Valley of the Dolls." We co-
wrote, he and I, the treatment. Man
by the name of Manny Diez did some
additional writing on it because
Roger had to leave after thirty days,
and that's all the time he had available to us. But he essentially wrote
the script, yes.
Well, he thinks that it holds up
well as an expose of Hollywood
decadence. Looking back-
He not only thinks, he knows.
He knows. Well, looking back, did
the film turn out the way you envisioned It?
Certainly. But I didn't do a film on
Hollywood decadence; it's Meyer's
decadence.
There's a lot of this...
...statement about Hollywood. It just
happened that we set it here, because
it was a proper place, better than in
Kanarsi, y'know.
Right. Would you say that Hollywood is still the same as it was back
in 1970?
Only more so. I think probably that
so-called film "tycoons" are trying
with even more v igour to take advantage of young frails (ed. note - '40s
expression for girls) who 1
come out here. Nothing has changed.
It still has a very immoral kind of
backyard. [Hollywood people are]
very prone to take potshots at my
films, but on a personal level so many
people relate. [It's] what we would
say, not all that nice.
Do you go to other people's films?
Uh uh. I don't go to films unless
they're what I call gut-pulling movies. Y'know, a lot of violence and
head-bludgeonings and so forth. I
saw a picture called "Impulse" the
other night that Sondra Locke did.
The girl that was with Eastwood. She
did a marvelous job. It's a wonderful
film, but it doesn't have any names,
so it'll probably do its job and....
What's good is that a girl did a great
job. I really admired it.
Name a couple of other films that
you liked.
Oh, any Clint Eastwood film; I go to
see him. But that's essentially it.
So I guess it would be pointless to
ask you if you have any directors
you enjoy.
Clint Eastwood and Don Siegel, who
I guess doesn't do much work anymore. Those are the people, essentially.
Okay. Out of all the women you've
been involved with, I guess the
most famous lady has to be your
ex-wife, Edie Williams.
No, she is not the most famous, not at
all. In fact, Edie does not even fit into
/In nis ■»- *
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the seven top women I have been intimate with in my life.
Who are the seven top?
I wouldn't say all that to you. You
can read it in the book. You have to
draw conclusions, because I don't
say "You are number six," or "You
are number four."
Edie Williams was a girl I met
at Fox. She was a starlet there; she
was under contract there. It seemed
myself, "Why are they?" I don't
know. I really don't know why, but
I'm pleased.
You said to me that the films would
outlast the "Rambos" and the
"Star Treks."
I don't think there's any doubt about
that. The true test is if someone can
lay down some money and purchase
a cassette for themselves to look at
over and over again. Apparently, by
"Apparently, by and large, the only films that people can
enjoy over and over again are mine."
like a good way to complete my repertoire would be to marry a starlet.
And it seemed as though we were
only married for forty-five minutes.
We were actually married for four
years. And she was an attractive
lady, and very aggressive in the sack.
When we were speaking.
But she is not the most important or the most renowned, the most
significant, or the one with the best
body, or anything of that nature. A
fine lady, and let's leave it at that, all
right?
Shewasjustupin town a few years
ago doing her act, an auto-erotic
"love dance," which involved audience participation.
Ah, whatcer.
Russ, people that dislike your movies point to the fact that you use
ordinary women, not actresses,
and they can be from any profession, with the only qualification
being that they have an attractive
face and very large breasts. The
word that I...
They're not ordinary women, they're
really very special ladies. And it's
always been extremely difficult to
find women that would qualify. Certainly the main thing is their boobs.
They've got to be big. They 've got to
be cantilevered. They've got to be
gravity-defying. They've got to have
a wasp waist, lyre-like hips; svelte,
y'know. Long, attractive legs; nice
face. Not ordinary ladies by any
stretch of the imagination.
Well, I've heard a lot of people
who've disliked your films use the
word "infantile." Does that ever
anger you when you hear this?
No, I don't care about what somebody says. Like they say, I'm controversial.
When you do the film, you control
every aspect: the writing, obviously the direction, the editing. Is
there anything else that you keep
your hands on?
Oh, I handle all facets of the film.
I'm responsible for everything. It's
my conception to begin with. I execute it, film it, edit it, create the advertising, then get out and sell it on
the road. That's all past; that's years
before, y'know.
Did you ever think that your films
would be so long-lasting?
No, I never did, and I have to ask
and large, the only films that people
can enjoy over and over again are
mine. I mean, with all this stuff about
"Citizen Kane" and the "Rambo"
films, whatever... You just can't look
at these films over and over again.
You can with a Russ Meyer film. Apparently there lies the rub, the secret.
Who knows what the secret is?
Maybe because they're cartoons.
They're simple. You don't have to
strain to hear someone saying something because everybody usually
speaks in bellows. I really don't
know. As I said, I'm pleased.
I guess the same thing goes for a
movie like "Faster Pussycat,"
which seems to be enjoying a lot of
notoriety lately.
Well, there's talk now they may put
it on the stage in England. People are
approaching me on that matter.
So it'll be a musical, will it?
I have no idea what it will be. I don't
think fP*Mll he aaqriusical.
We're all very much looking forward to your book when you have
it completed.
That won't cross the frontier, only
by smuggling it in. Pubic hair.
It will have pictures of pubic hair,
will it?
Yeah, there's even some full-frame
close-ups of it. Looks like a brillo
brush. There's alotof nudity; there's
2300 pictures. Not any are going to
be censored for the sake of the
Dominion. You'll have to slip it
through, y'know. also, interestingly
with regards to the press and people
who want review copies, there are no
freebies. No freebies.
What people will have to do
what are interested to review it and
so forth, they will pay what is called
the wholesale price, which will be
above ninety dollars at the present
time. It could go even higher. And
they will make out a cheque to the
Sloan-Kettering Cancer Institute,
which is one of my favourite charities, and that's where the money will
go; for people who wish to review.
They have to be certified people of
the press, whether it be radio or television, or newsprint. No critic will
get it for free, no way. The only
person that I have promised a free
copy was the vice-president of Playboy, who has agreed to do a very ambitious article on it.
There'll be about twenty
people, one of which is Hugh Hefner,
who has been very cooperative and
helpful, and a few ladies that I care a
great deal about, and some personal
friends. There'll be about 22 copies
given away. The rest'll be sold.
So Roger Ebert will probably be...
Oh, he'll get number one.
He'll get number one.
They'll all get numbered. Roger will
get number one.
Will you autograph these?
Each one. Each time someone buys a
book, its value will escalate twofold. It will be a real collector's
piece.
Well, I'm certainly looking forward to It. "Motor Psycho," as we
talked about earlier, is not available on video. Is there any other
titles that are currently not available?
Sure, there arc a number of them, but
even 'The Handyman" will be available someday. It's been put on tape,
but I have no time to do the advertising. I have a book to do, and that's
more important. Someday they will
come out, someday. The Federal
Republic will be showing them over
the television network in Germany.
I guess because of the book you
haven't had time to go to some of
the usual hangouts, as your friend
Roger goes over to Cannes every
year.
No, that's not a hangout for me; I
don't go to those kinds of things. I go
fishing somewhere, or in search of a
large breast. I don't have any hangups.
Do you search locally for large
breasts, or do you...
I don't search anymore. I've got all
the breasts I need, enough to complete a "Mondo Topless Too,"
spelled TOO.
Well, Russ, it's been very, very
nice talking to you.
Glad you got it this time; that your
equipment's working. Hopefully it
is. Bye.
To hear more of the wit and
wisdom of Russ Meyer, listen to
Moving Images, the movie and entertainment show on CiTR, Friday,
May 26, and Friday June 1 at 10:30
in the morning.
You can catch three of Russ
Meyer's classics locally at the Vancouver East Cinema from May 18
through the 27th. Meyerfanatics can
enjoy themselves with "Beneath the
Valley of the Dolls," "Supervixens,"
and "Beneath the Valley of the Ul-
travixens." Fans who miss this presentation will be able to catch these
same films playing at the Roxy in
Victoria from June 29 through July
13.
Finding Meyer's films on video
requires a diligent search of the
appropriate video shops.
Special thanks to Jim H. for
assistance in research, and to Philip
W. for transcriptions and editing.
MAY 1990 19 ISM
Hey wow. Finally unearthed
that kooky blue Slurpee flavour again, at the Sev-Elev at
AlmaA 10th.'Cept instead of
just "?Mystery Flavour?,"
they're calling it "Blue Raspberry," which kinda destroys
the mystique a bit. But then,
nor does it taste the same as it
did last year, so maybe it ain't
even the real thing.
On a depressing note, it
seems NO Dairy Queens, not
even the trusty old one back in
Surrey across from my parents' place, put an extra sprinkling of the chocolate bar atop
one's Blizzard anymore. Nor
does the server-person masterfully flip the Blizzard upside-down before handing it
to you. Is tradition, ritual,
sacrosanct custom, going to
Hell in a handbasket in the
DQ empire?! Goddamn it, I
say.
A serendipitous discovery of mine in the chewing-
gum realm was made at Best
Quality Produce (3100-blk.
W. Broadway), where you can
pick up a 5-stick pack o' Lotte
gum for $.25, or 4 packs for
$.99. "Be always happy with
excellent taste and flavour,"
proclaim the blue wrappers of
each piece. God knows I go
through it at a rate that could
sustain the Korean economy
singlehandedly. It's that really mushy, chewy, malleable
Hell'sfKitchen
BCANZ
'TOOAY
kind of gum that stays that
way even after lengthy chewing. Slick.
Just up the street, the
Hollywood Theatre has
some highly eatworthy cookies, the saucer-sized kind,
going for a dollar apiece.
Crammed with both white and
dark chocolate chunks and
better than many I've had at
the Van East. Your zits will
thank you.
Remember disco-white
with green lettering and yel-
low-and-red accents? Yes, the
old Popcorn Twist package
has gone the way of the dodo,
supplanted by a staunch conservative royal blue dealie
with tasteful red and yellow
lettering. Tasteful! Yeccch.
The whole essence of Popcorn Twists is TRASH, dam-
nit! Without appropriately
tacky packaging, I predict the
wormy little vermin will
plunge into the stale depths of
obscurity, dragging the whole
corporation right along with
'em.
Bonus day at the
Hastings Sev-Elev recently,
whence I happened upon a 3 -
for-the-price-of-2 pack o'
King-Dons at $.98. Crinkly
white plastic wrapping instead of the usual anonymous
tinfoil, which destroyed some
of the Star Trek quality of
eating the darned things, but
hey. Good value for the
money anyway.
Went and checked out
Olympia Oyster & Fish Co.
for the first time this year a
couple days ago; and yes, the
food still kicks butt. (Kicks
fin?...)Sixandahalfbucks'll
get ya a heaping platter o' cod
& chips with a dollop of cole
slaw and a tall cold Dad
Root Beer. And the conversi
tions to be eavesdropped upon
from an unobtrusive comer of
this little joint rival any in the
Only for sheer interest value.
Lotsa customers are greeted
by name; the counters are
lined with '50" s greasy spoon
style condiment containers;
and lip-smacking chow,
neighbourliness, and a lack of
pretension (rare on Robson
St) are the order of the day. In
fact, why am I telling the outside world about it?! Robson
at Thurlow. Mind-bendingly
groovy fish posters too.
20 DISCORDER "BOB'S" FAVORITE COMICS
The SubG*nlu»0*> Comic Book fl
Publlihed by Rip Off Pre«, Inc.
In the beginning there was
lack and Bob said, "Let there
be slack." In the wake of such
sublime sooth, a group of
abnormal mortals founded a
church in HIS name and called
it The Church of the Sub-
Genius. Following the slogan
"You'll Pay To Know What
You Really Think," HIS followers have created the ultimate religious marketing
vehicle in an era of such entities. Unfortunately, the comix
version of the SubGenius
System® pales in comparison
with the seminal documentation the Church cranked out
during the previous decade.
The origins of The
Church of the SubGenius are
shrouded in deep mystery.
What is known is sketchy and
comes from dubious sources.
Legend has it that Malcalypse
the Younger (Kerry Thornley,
a close personal friend of Lee
Harvey Oswald) found a copy
of the Discordian Bible (The
Principia Discordia) in a bus
terminal washroom in Far
East, Texas on a dark and
stormy night. Realising the
document to be his passport to
full-breasted women and
imported liquors, Malcalypse/ Thornley began to
spread the word of BOB to
those potentially secular
beings who really needed to
believe in something.... anything. Thus began the publishing history of one of the
greatest written conspiracies
of the modern era. Heralding
the advent of the four comer-
stones of this great Church —
Sex, Violence, Religion, and
Philosophy, the initial zealots
took these words to imply
complete freedom of thought
and process and thus, the holy
crusade to destroy the conspiracy was underway.
The SubGenius Comic
Book is the divine revelation
of the Reverend Ivan Stang
(one of the few humans to
have actually met BOB), who
in the last ten years has published three books: 'The Book
of The SubGenius," "High
Weirdness By Mail," and "3-
Fisted Tales of 'Bob,'" and
St. Palmer Vreedeez, who is
the design mind behind this
sporadic nonsense and a well-
regarded practitioner of
"Primitive Victimization"
and Bulldada. Together, these
two rejects from the Society
of Jesus have compiled concrete evidence that Oswald
acted alone, that Einstein was
an alien, and that Crest really
does prevent cavities.
The Church itself has a
long history of publishing
engaging ideas and bizarre
Leigh
R.
Wolf
¥rE__^M
'Vnl—~Z^KT1' ' M_____ci
B
postulations such as "Jehovah
is an alien and still threatens
this planet." An example of
their more sublime attitudes
is this excerpt from the classic
"Brag Of The SubGenius,"
which was transcribed from a
cassette recording made at a
seance in 1973: "Yes baby,
I'm twenty-three feet tall and
have thirteen rows of teats! I
am too intense to die, I'm
insured for acts o' God and
Satan! I'm a fission reactor, I
fart plutonium, power plants
are fueled by the sweat from
my brow! I circumcise dinosaurs with my teeth and make
them leave a tip! I pick the
GOD DAMN terror of the
fucking gods out of my nose
before I hock out a lunger and
extinguish the Sun!
YEEEEEEHAW!"
This comic, their first,
fails to measure up to their
previous publications. Done
in a traditional anthology
style, "BOB'S FAVORITE
COMICS" is a hard-boiled
attempt to shock and amuse
while reinforcing the SubGenius ideals of sensory overload and total disrespect for
authority. Artists such as Jay
Kinney (Co-Editor of
"Gnosis") and Paul Mavrides
(Co-Creator of "Anarchy
Comix") have contributed
their work to this thirty-two
page romp. Cutesy cartoon
doggies undergo vivisection,
friendly policemen turn out to
be alien co-conspirators,
saints rum into sodomites
before your very eyes, all this
and more for $3.50 (Can).
What more could you ask
from a comic book?
Well, more laughs per
page for starters. How about
less schlock and more shock;
artwork that doesn' t appear to
have been lifted from the
pages of Police Digest; less
overt sexism and more raw
sexuality; and perhaps apotto
piss in when all that is being
offered is poor performance?
At its best, "BOB'S FAVORITE COMICS" is rather
scathing in a middle class sort
of way. At its worst, the comic
bores a hole into your head
while trying desperately to
laugh at itself. Deadly dull
stuff indeed.
Could it be that the time
of BOB is long past and all
that is left of the original pata-
physical premise that en
deared the Church to thinkers
of original thought is the
moneygrubbing aspect? The
Church of the SubGenius
seems to be going yuppie
mainstream and the effect of
such a BIGTIME mindset is
apparently fraying the edges
of the original concept. Perhaps since the assassination
of J.R."Bob" Dobbs in 1984,
the High Priests of the Church
have succumbed to the forces
of rampant capitalism and
have begun to recruit investment bankers to their cause.
This would explain the overall tone of dead metaphor that
reeks like spoiled tuna on a
hot summer day.
The idea of The Church
of the SubGenius going mainstream is rather unsettling.
Far gone cults are like sexual
secrets; when cloaked in
mystery the excitement is
almost unbearable but when
revealed to the light of day
they seem rather bland and
ordinary. That said, one hopes
that the second issue of
"BOB'S FAVORITE COMICS" is more hip and less
hype. Having been a fan for
over a decade I am certainly
willing to let the Church have
the benefit of the doubt
though I will pause before I
fork over my shekels if and
when #2 appears at my local
comix outlet.
MAY 1990 21 ///II111III/////II1I1III/////II1U11I/////I
The Town Pump presents
Recording Stars from
Pittsburgh, Penn.
THE
CYNICS
With Vancouver s newest Hit makers
THE
Smugglers
& from Bellingham:
THE MONO MEN
Plus a Special Guest appearance by
Garage legends
The WORST
Tuesday
May 22
TOWN PUMP
22 DISCORDER
This month brought me one of
the largest bags of demo tapes
I've ever seen - what follows
is just a taste of all the good
stuff that's at the station right
now (call up and make a request or, better yet, go see
these bands play somewhere):
Bruce A and the Secular At-
avlsts-"By Request" "All
Torn Up" Bruce et al have
come a long way since I compared them to early Frank
Zappa (will they ever forgive
me?) in this column. While
they always did have those
clever, catchy lyrics (ie "Girls
in the Shower," one of those
rare demo tape songs to make
the transition to being sung
absent-mindedly by lots of
people at work and so on),
there was a quirkincss to their
sound that might have held
off some potential fans. But
now it looks as though Bruce
has come around to songwriting more in the tradition
of what he did with the Secret
Vs. Catchy guitars and impassioned vocals add to the big
pop sound and these songs
have the sort of early punk-
type pop sensibilities that just
might win over the occasional
commercial radio MD —let's
hope they do.
Planet of Splders-"Hey"
This is the first demo I've
heard that was recorded in
"The Sonic Studio," which
belongs to SFU's Communications Department, and I
can't say that I'd recommend
it. Perhaps the recording facilities can be blamed for the
muddiness here, and the way
the guitars (with too much
midrange) sound like keyboards. It's also unfortunate
that "Hey" probably isn't the
band's most memorable song
- "I Had," the second selection on the tape, is more representative of their harder (and
better) side, and was the song
that stood out most in their
Shindig performances. Stylistically Planet of Spiders are a
lot like the Gruesomes and
other recent garage-'60s
bands, but usually with a
cleaner and more controlled
sound. I guess it's just going
to take a better recording to do
them justice.
Evan Symons-"The Spider
and Ze Watch" Angela
Symons (nee Rancourt) is
singing her own lyrics here,
which would make you wonder why it's Evan who's got
his name on the tape if this
weren't the only song where
she does. While the vocals
themselves are all right, as is
the musicianship, this song
simply goes on for too long,
which leaves the listener with
the feeling that it's just tuneless and confused. 'The Spider" has its moments, but
Evan and Angela probably
aren't gong to make a big
splash with this o
sitely produced, played, and
sung. So what if these aren't
their best lyrics? Don't listen
to the words, just enjoy the
Tankhog-"Reptilion" (sic),
"Tears" Wow! Tankhog out-
powers the competition.
See thru Flowers-"To Cynthia
Gray" Robin Plaits (bass,
guitar, vocals) now sings and
strums for another Victoria
band, 64 Funnycars. On the
whole, this tape is an odd
combination of primitive recording techniques and relatively high-tech effects
(mainly on the vocals), and
these seven songs do suffer
from the flatness that often
plagues studio projects (since
there are only two people in
the band. I'm just assuming
it's a studio project). In spite
of the not-so-great recording
quality, some of this sounds
very pretty (one song goes so
far as to be a little reminiscent
of '60s BeeGees) and "Cynthia Gray." the first and best
song, is short, simple, and (in
the finest pop-rock traditions)
also has a chorus that'll stick
in your head.
Green House-"Spring Will
Call" Like everything else on
this tape (previously on our
playlist: "Dive") this is exqui-
While I, myself, find it hard to
sing along with lyrics like
"She's a reptile," and this is
hardly to be confused with
Slow (in spite ofthe two bands
having more than a mighty
bass player in common), I
hope, at the very least, that
people will stop acting like
Mudhoney is the only band
worth banging your head to in
this part of the world.
Jimmy Roy's 5 Star Hillbil-
lies-"Everybody's Talkin'"
Quite simply, this is beautiful
sounding. Yes, the music's
more hillbilly than rockabilly,
which means you can't jump
around to it much, but this
tape is awfully nice to listen
to. I just wish someone would
tell me where it was recorded
And now the tapes you can
buy for your very own (either
in the shops or from the bands
themselves):
Roots Roundup
Get
Rooted. In an ideal world,
there'd be a new Roots
Roundup tape every summer
to listen to while lying out in
the sun somewhere. Fortunately, it often seems to rum
out that way - this one has arrived in stores just in time for
the good weather. These eight
songs may be the best-sounding to ever emerge from Profile Studios. My favourite
(playlisted at the station) is
probably "Sleepin'," which
mixes up an immensely pleasurable combination of harmonicas, horns, guitars, and
words that are somehow both
sad and good-natured and
only contribute to the cheerful tone of the song. Buy the
tape!
Drums Along the Gardiner-
Boronto. "My Hometown"
and the title song are the two
playlisted at CiTR, but "She
Said No" and "Beergut" (at
least) are also bound to stay in
your head for a while. My
copy of this tape has been
rattling around in my car for a
couple of months now, and
this has given me time to
evolve a theory about punk
rock recording: mainly that
music in this genre, when
made immaculate by 24-track
studios, lots of EQing, effects,
and noise reduction, almost
always loses something of its
essence. Happily, this isn't
what happened with Boronto.
There's just a lot of sing-along-able sneering, growling,
and yelling with a nasty blur
of guitars and thudding
drums. Although, as you may
have guessed, they're from
Toronto, once-Vancouverite
Pete Moss fronts the band.
(Also buy their "Fish" single -
the one with the Indian chief
on the sleeve.)
Wages of Sin-Wages of Sin.
This tape, and its playlisted
song, "Pretty Blonde
Enigma," are this month's
most pleasant surprise. These
are the new-and-improved
Wages, with poppier, more
powerful and varied songs,
enthusiastic backup vocals,
and an unstoppable beat. The
lyrics are tantalizingly tricky
to make out (there is a lyric
sheet, but I don't know if it
comes with the tape or only in
the promo package) but usually worth the effort and, ultimately, appealingly simple.
While all four of these songs
are catchy, "Pretty Blonde
Enigma"probably is the most.
Never mind that Gary (the
singer) said the song could be
about me - bet he says that to
all the reviewers. Bug Head
Jojoka
Town Pump
Tuesday, April 3rd
It would be easy to dismiss Jojoka as pretentious artwank, what with Mark Critch-
ley's banks of synths, Sondra
Lockwood's "serious" lyrics
and posturing and the slow
motion big screen video backdrop, but that wouldn't really
be fair. Jojoka's chosen multimedia performance style is
difficult, both technically and
as far as audiences go - going
on stage at the sparsely populated Town Pump with a fish
strapped to your chest takes a
lot of guts.
When the separate elements of video, sound, movement and voice did mesh
cohesively, the result was
startling and very enjoyable.
False colour water videos
combined with ethereal keyboard and voice to create a
mesmerizing montage.
All too often though, the
performance was held up by
technical hitches and Mark
Critchley's determination to
show his versatility on electric piano, guitar, synths and
drum pads. The minutes between songs that were spent
setting up his colossal hardware arrangement spoilt the
continuity of the performance
and distracted the audience. I
always thought that the technology was there to make
complicated changeovers unnecessary, and when you go
on stage with that kind of
backup, you have to make
sure its going to impress or
else risk the title of "Wealthy
Music Hobbyist." As I've said
though, when it worked it was
great, and a refreshing change
from Town Pump guitar
bands.
Bug Head were excellent. From Seattle, the band
consists of a drummer, bassist
and keyboard player, but really the group is expanded by
their lighting engineer and
two dancers, who give the
show its visual impact.
They play dance music,
specifically House. The basic
beats and samples are on tape,
and the musicians play over
this, crashing in and working
the piece to a frenzy, or sometimes stopping altogether and
letting the tape carry it. The
dancers intensify the energy,
as do the pulsating slides, and
when Bug Head are in top gear
they kick out incredibly powerful chunks of rhythm. The
drummer, freed from timekeeping constraints by the
tape, pitches in snapping
cross-patterns a la Keith
LeBlanc, and the bassist alternates with the tape in playing
slap or hard dub.
What this band do is
pretty well unique around
these parts, and adding the
live facet to House Music
changes it from a cold, machine music to real life sweaty
dance workouts, with musicians who are able to react to
the crowd and alter the mood
appropriately.
What pissed me off was
the lack of support for this
gig. Okay, they're not big
names but they have had exposure, on CiTR and at a gig
at the Commodore earlier this
year. It always amazes me
why people are willing to pay
$25 to see some English "alternative star" bore (Matt
Johnson?) play songs that
sound just like the album versions, in exactly the same way
as the previous night, or even
six months ago in another
continent, with no acknowledgement of the audience at
all, yet they daren't risk six
bucks on a couple of new
bands who are actually still
into the idea of communication. At the Bug Head gig not
only were they relaxed
enough to take time out to
sing "Happy Birthday" to one
of their dancers (now I know
why they're an instrumental
band!), but the audience all
got invited to the after gig
party! If you're into dancing
(and if you ain't, you're dead)
then next time Bug Head
come to town go see them.
They combine the funkiest
Acid House with the intensity
of a live band, and they love
what they're doing.
Peter Lutwyche
Babes in Toyland
Marshmallow Overcoat
Numb
Club Soda
Tuesday, April 10th
If Angus Young was a
girl, instead of the manly
Australian guy that he is, (s)he
would probably still have
picked up a guitar, donned a
parochial school uniform, and
formed a band. And that band
just might have been Babes in
Toyland. This all-girl Minneapolis trio a Totally N-Tol-
erableTuesday in April somehow tolerable. (Just ask the
head-bobbing Superconductor members who remained in
awe at the front of the stage
throughout the Babes' set.)
What the band lacked in song
variety and virtuosity they
more than made up for by their
extra loud crunchy guitars
that complemented the
wildly, flailing, screaming
antics of the Youngesque lead
singer.
After an "ambitiously
long set," the steadily growing crowd was ready for headlining Numb, but Marshmallow Overcoat, a garage-y five
piece from Tucson, Arizona,
took the stage. The few eager
dancers who were encouraged
to gyrate might have briefly
mistaken Club Soda for a
UBC frat dance.
The confused were
quickly brought back to reality as Numb began their orchestrated mayhem. With
lights, smoke, and a somewhat forced sense of impending doom, the four members
of the local industrial/noise
ensemble took over. Lead
singer Blair Dobson tore into
the crowd in more than one
way. He also announced that
this was to be the last local
show for Numb. This is bad
news. A Numb show is a brilliant amalgamation of a frenetic Big Black performance,
interesting arrangements and
sounds, and a Graceland
dance mix.
Although industrial music has become something of a
Vancouver mainstay, with
several offerings to choose
from, Numb has managed to
remain unique and avoid the
trite and boring Gothic gore
that has become so much a
part of the genre. This is definitely a plus for fans of loud
noise/thrash music who have
something other than black in
their wardrobes.
If you ever again get the
chance, remember, a night
with Numb is worth a slight
hearing loss.
Lisa Christiansen
VERY BIG
VERY BLACK
VERY COTTON
VERY COOL
AND IN VERY LIMITED
QUANTITIES
ONLY 15 DOLLARS
(BY MAIL PLEASE ADD $2
POSTAGE AND INCLUDE
YOUR COMPLETE
ADDRESS) Einsturzende Neubauten
Haus der Luege
(Some Bizarre)
Wow. EN have truly
evolved. Never mind the glorified press-release liner
notes ("EN's music now
sounds uncannily prophetic,
their previously reviled lessons in dissonance, disruption
and disfunction fully vindicated by scientific studies of
natural chaotic patterns..."
blah blah blah). It's my bet
that were these songs to be
performed/mutated at a free-
for-all venue like the Expo
bowl, just as many people
would leave. On the other
hand, this is their first album
that doesn't demand listening
to on headphones, which
should come as a relief to all
those fans who have to worry
about their hair staying up.
Overall, the band's
sound is a lot cleaner, more
connected and concrete (figuratively now, not literally as
in the past). "Haus der
Luege," translating as "House
of Lies," reads like an epitaph
for the '80s and a precognition of the '90s in one. A
soundtrack for our days, to be
sure.
"Ein Stuhl in der Hoelle"
is the closest EN have come to
a capella, the lyrics accompanied only by "footstomps and
amateur tap dancing." "Timeless and haunting Central
European folk blues" the liner
notes also say. Yeah, I guess.
But I'm loath to slap pat synopses on EN's stuff, especially the amazing components of this album.
"Hirnlcgo" ("Brainlego")
captures so terrifyingly what
it must be like to be schizophrenic, that if it weren't for
the inherent humour to lighten
it up, it'd descend into a parody of itself.
And so on. No filler here,
unless one looks at it from the
perspective of EN being elevator music for the criminally
insane, in which case it's all
filler, and damn good filler at
that. Those highfalutin' liner
notes do, if you read far
enough through them, yield a
pithy quote by which "Haus
der Luege" may be summed
up: "Nor does God get off
lightly." Amen.
Viola Funk
Cows
Daddy Has A Tail!
(Amphetamine Reptile)
"IF YOU ARE OFFENDED BY SCENES OF
SEXUAL ACTIVITY, DO
NOTENTERTHESE PREMISES." This album could do
with a warning sticker to that
effect on its cover. Course,
the depiction of Wilma
Flintstone as a three-breasted
frog serves the purpose just as
well. Yup, you got yerself
another kooky 'n' warped
band from some part of the
Mid-West, and one that kicks
butt at that. Though the tu-
nage occasionally bogs down
into (or should I say, "speeds
up into") kinda generic
hardcore mode, as on
"Camouflage Monkey" and
half of "Bum in the Alley,"
for the most part the Cows
serve up a hefty platter of
UNDER REVIEW
juice-oozing, mind-bending
muck. A Mid-West interpretation of grunge, if you will.
Lines like "I saw a
girl...She was so pretty/ She
made me understand...That
she was the girl to finally
make me a man..." don't score
high on the originality meter,
true. But a few lines later you
come across a gem like "I am
a waffle and you are the syrup/
I am covered with square
dents, you are sticky and
sweet." Eat your heart out,
Aunt Jemima.
Rife with sexual warpifi-
cation, "Tail" should be
avoided by anyone the least
bit unclear as to her/his gender identity, because it'll
screw your mind around
24 DISCORDER
badly. These are a bunch of
troubled boys (?) alright. But
hey, all the more fun. The
band's musical acumen -
feedback, pulsating bass
seeping out of every crack,
obnoxious homet-attack gee-
tars — provides the ideal foil
for the twisted lyrics. And dig
those total '70s FM radio echo
chamber vocals on "Chasin'
Darla." "You say I'm not a-
way-ay-ay-ay-ake..."
Notwithstanding all
these pluses, the record would
be worth buying for the title
"Part My Konk" alone.
WAAAAAAY!
Viola Funk
Prong
Beg to Differ
(CBS)
This is Prong's first release for a major bigtime label. Fortunately, the band
hasn't sacrificed anything
musically for their new
bosses. For the unhip, Prong
is a throbbing, grinding, super-heavy three piece from
New York. Comprised of ex-
members of Damage, Swans
and the Radium Boys, Prong
rides the fine line between
metal and hardcore punk.
Thankfully, perhaps due to
the group's punk rock background (two members work at
NYC's CBGB's, the ultimate
hardcore homeland), Prong is
far more intense, intelligent
and innovative than the
speed-metal freaks they are
often compared to.
Prong's sound is difficult
to describe. I'd call it a sort of
"Metallica shuffle" played
with great restraint with respect to speed and flaming
guitar solos. Also, Prong has a
refreshingly honest and
simple approach to the issues
dealt with on "Beg to Differ"
(cool punk rock stuff like
society, conformity and the
fall of civilization). So, check
out Prong, one of the best
"whatevercore" bands
around.
Mikey Jiggle
Death
Spiritual Healing
(Combat)
Right on, dudes! These
guys play soooo fast! "Spiritual Healing" is, like, a totally
crucial album. I mean, these
guys thank their instruments!
Yeah, and on "Living Monstrosity" they sing about cool
stuff like killing women who
have kids bom addicted to
drugs. Check this out: "Some
say she's naive/ She' a stupid
bitch/ Some say to forgive/
Guilty, she must die." Yeah,
right on!
The next song, "Altering
the Future," is about killing
women who have abortions.
"Life for a life should remain
the rule... look to the past is
what we should do/ When
justice was done and justice
was true." I couldn't have said
it better, man!
Oh yeah. Death think so
much of themselves that they
credit every masturbatory
guitar solo. If that isn't
enough, the singer sounds like
he's drowning in oatmeal, and
all the band members wear fat
guy muscle shirts. Bitchin'
dude! By the way, does anyone want my Death cassette?
Mikey Jiggle
The Cynics
Rock 'n' Roll
(Get Hip)
On their last album,
"Twelve Flights Up," Pittsburgh PA's Cynics offered up
sounds similar to "Surrealistic Pillow" period Jefferson
Airplane. There are none of
those allusions on "Rock 'n'
Roll." The Cynics have
dropped the Wurlitzer organ
and turned up the guitars in
order to blast out some
straight ahead, unrestrained
rawk 'n' roll.
Lead singer Michael
Kastelic sings/yells so hard it
sounds like his voice will pack
it in after each song. The adept
rhythm section combines with
Kastelic's primal vocals and
guitarist Greg Kostelich's
stinging riffs to create fourteen songs of tightly wound
'80s garage rock. Credit must
go to Greg Vizza, whose deft
production gives the album a
crisp, unencumbered sound.
"Rock 'n' Roll" is the
Cynics' best LP and one of
this year's finest independent
Greg Garlick
The Cynics are playing the
Town Pump on May 22nd.
Burton Cummings
Plus Signs
(Capitol)
My first exposure to
Winnepeg's second most
famous son was the dreadful
expansive ballad, "Melanie."
Full of trite sentiment, the
song was only pushed to hit
status by the movie of the
same name, which, incidentally, stan-ed our poor, hapless Burton. Of course, I knew
him by reputation as the impassioned wild man of the
Guess Who -1 probably saw a
reunion concert on television
at some point.
On this comeback album.
Burton gets intensely personal. He strips bare his everyday existence to reveal his
failings. He tells us what
contributed to this revival.
The album paints a portrait of
a guy - yeah, just an ordinary
guy, somewhat of a poet,
though aren't we all? - who's
reached an impasse, dealt
with it and emerged from it all
with a new outlook on life. No
excuses are made for past failings. "Plus Signs" signals a
new spurt of activity for this
volcano from the age of the
dinosaurs.
The key line can be found
in the first single, "Take One
Away," where Burton sings:
"Mama, I've joined the
church, y'know." No, not that
church, but the sacred ground
of the unknowable. The ether
of the mind, man. Culling
inspiration from Stephen
Hawking's "A Brief History
of Time," Burton has come up
with his philosophy of a temporal conscious plane existing within the great being that
is the universe.
Ironically, the only
clunker here is the track,
"Cerebral World," in which
he spells out his new understanding. In five different
places on the record he mentions the influence - or manipulative quality - of time, in
each instance pronouncing
the word "time" differently so
as to emphasise the very malleable nature of it.
On "Bridge in Time" he
evokes the names of the past,
Johnny and the Hurricanes
and Henry Mancini, repeating
them over and over like his
own personal mantra. Bells
and a sitar-like drone fill out
the soundscape to produce a
nether-worldly effect. Hypnotic. However, the real pay- off comes when you've sat
through to the end of side two
to discover the Vegas-y (hints
of a possible career move,
hmmm?) "Boring Dreams"
and the timely "Free." Both
celebrate the liberation of the
mind from its snares of logic
and old habits. Burton sends a
compassionate and congratulatory slap on the back to the
people of Eastern Europe, but
he is really addressing the
home front, his audience, with
the lines "You will find lessons in the teaching and learning, and you will walk prouder
'cause you will be free."
More often than not.
Burton's new '90s sound is
nothing special. But it'll get
on the radio where deeper
thoughts are few and far be-
Len Morgan
John Zorn
Spy Vs. Spy
Naked City
(WEA)
These two records were
released within six months of
each other, and both demonstrate New York saxman John
Zom's ever increasing romance with the extreme.
"Spy Vs. Spy" is the
name given to Zom's collection of Omette Coleman-
penned songs. Zom tears
strips off the Omette mystique and pays tribute to the
jazz great's compositional
skill at the same time.
The "treatment" each of
these sixteen songs receives
consists of the band playing
the characteristically brief
theme once or twice, the dual
saxes then breaking off into
spastic squeals and honks,
mad-dervish style drumming
from the two drummers and a
rudimentary sort of key feeling applied by the bassist, who
is alone in his venture to hold
some semblance of order.
They all return to the theme.
And end. This is done at an
incredible breakneck pace.
They swiftly kick into another
song, performed in the same
manner.
The sheer relentlessness
of this approach mimics Or-
nette's trait of using repetition to the point of making
your ears beg for a respite.
And it's all plated with the
same emotional ambivalence
that Ornette applies to his art.
The music is exhausting, and
certainly to be taken in a full
dose for recommended effect.
As the ubiquitous "they" say:
in short, a masterpiece.
Now take "Naked City."
Smack dab in the middle of
this album is a little three
minute surprise. The only way
I can try to describe it is to ask
you to imagine the last time
you suffered from a really
painful toe stubbing. Or
maybe you've lived through a
true mishap, the featured
memory of which is a short
but seemingly interminable
burst of the most excruciating
pain that you could ever believe possible. Or maybe
you've given birth. Imagine
that pain... tenfold... imagine
the soundtrack to that pain.
Imagine that soundtrack
being as close to you as the
nearest record store. Imagine
that those eight songs (average length: twenty seconds)
are but a brief portion of an
hour's worth of the most varied musical sandwich you can
bite into. Do I need to say
more? Surf, reggae, boogie-
woogie, sleazy lounge jazz,
funk, be-bop, rhumba and the
above mentioned punk rock
blitzkrieg. And that's just one
song.
"Naked City" might as
well be a retrospective of the
whole John Zorn trip. He has
assembled the cream of the
American avant garde - pared
down from the number that
appeared on The Big Gun-
down. He treats familiar
ground with Morricone and
Omette Coleman covers and,
like his Spillane opus, this
album could sport the warning: "completely concerned
with crime" (that ofthe inner-
city television/ movie crime
drama variety). The inside
sleeve of the CD features a
colour illustration of a tattoo-
festooned man holding his
hand up to his head, apparently to hold in the blood
gushing from the place where
his ear - now sailing through
the air - had been.
Both albums are only
available on cassette and
compact disc.
Len Morgan
Stumpy Joe
Day Dreams 7"
(Estrus Records)
Stumpy Joe is a new,
young, power-pop garage
band from Seattle whose debut single on Estrus Records
is excellent. "Day Dreams,"
the A-side, is an amazingly
catchy garage song with all
the right elements to be a real
underground/ college radio
hit. Complete with raunchy,
clear and powerful vocals,
intelligent lyrics, Replacements-style lead guitar, and a
groovy, rocking rhythm section, Stumpy Joe is a band that
ain't gonna miss. "Day
Dreams" gives me a picture of
a band who' s young and inno -
cent, with incredible potential.
The flip side, "Basket-
case," tops off a great single.
Lyrics like "You're the Grand
Marshall of the parade of my
mistakes" makes this a superb
Another plus is the very
cool, limited edition red vinyl. Hopefully, we'll see a full
LP from these guys on either
Estrus or Popllama Records
really soon.
Available from local
indie record stores, or direct
from Stumpy Joe c/o Estrus
Records, P.O. Box 2125, Bellingham WA, 98227, USA.
Especially riveting is the
power of lead singer Manon
Briere, whose vocal chords go
into spasms as she shouts out
the lyrics. The course, dense
layer of sound of the music
adds to the sense of unleashed
pent up emotions, frustration
in particular, evoked by Bri-
ere's vocals.
This album is a fine debut from a band who can definitely give Fugazi a run for
their money.
Greg Garlick
Fugazi
Repeater
(Dischord)
The three best hardcore
Stumpy Joe are at the Railway
Club, Monday, May 28.
Tyler James
Bloodsister
Bloodsister
(109 Records)
Out of New York's
Lower East side comes
Bloodsister, a band consisting of five female thrashers,
blasting out the grungiest rock
'n' roll this side of Killdozer.
Produced by Don Fury
(responsible for producing
bands such as Agnostic Front
and Guerilla Biscuits), this LP
delivers a strong throbbing
wall-to-wall sound to berate
anyone's frontal lobes. This
is not to say that Bloodsister's
debut LP is migraine material
but, with the volume cranked,
it could cause a mild stroke.
bands in the world are: Victoria's Nomeansno, England's
Snuff, and Washington,
D.C.'s Fugazi. The best of
these three is... whoever has
the most recent release. So for
the time being, it is Fugazi.
After seven, six, and
three track EPs, their fourth
release is a full length album.
Eleven songs of intelligent,
emotional intensity create-
not by speed, volume, nor
complexity, but by honest,
thoughtful songwriting and
solid musicianship. But don't
these qualities have to be present in all good hardcore songs
you may ask. Yes, but Fugazi
put something else into their
music that I can't quite put my
finger on.
Perhaps its that Fugazi's
songs fit any mood, frame of
mind, or time of day. It's
happy or sad, early moming,
late night, and mid-aftemoon
music. Fugazi's "Repeater" is
just the thing to listen to no
matter what you are trying to
do, except maybe trying to fall
asleep.
Or perhaps the difference is Ian MacKaye.ex of
Minor Threat, Pailhead, and
Embrace, and the originator
of the "straight edge" movement.
Or it could be that Fugazi
are the ultimate in motivational music. They are the best
at making you re-think your
goals and inspiring to achieve
them.
Whatever it is that makes
Fugazi special, the proof is in
the puddin'. So find a copy of
"Repeater," pay attention,
and don't waste any time.
Bartholomew
Grant Hart
Intolerance
(SST)
Remember Grant Hart...
the drummer from Husker
Du? Yeah that's right, the one
who wrote better songs, had a
better voice, and didn't get a
major label deal.
His debut album, "Intolerance," is on SST but don't
expect "Land Speed Record
II." Like ex-Husker Du guitarist Bob Mould's album,
"Intolerance" does not share
many traits with his old
band's sound. Rather than a
heavy droning guitar, half the
songs are soaked with a Mel-
lotron organ in a hip shakin',
not headbangin', groove. The
opener, "All Of My Sense," is
reminiscent of the keyboard
work in Santanas' "Black
Magic Woman," but in a good
way. The second cut, the
rockin' "Now That You Know
Me," forays into a "Highway
61" era Dylan, with a great
lead harmonica.
The first single,
"Twenty-five Forty-one," the
address where Hart lived with
an old girlfriend, relates the
sadness of moving out of a
much loved apartment and the
unwelcome end to a relationship. ("It was the first place
we had to ourselves, I didn't
know it would be the last.")
This kind of personal politics
and love gone wrong lyrical
content, which also appears in
songs like "Fanfare In D
Major," "The Main," and the
tres smooth "You're the Victim" (of yourself and no-one
else"), remains from the
Husker Du days.
By moving away from
drumming, in favour of keyboards, Grant Hart not only
has a lot of piano and organ in
the background, but he also
provides an organ based instrumental entitled "Roller-
Rink," as well as the hymnlike "She Can See The Angels Coming."
The sloppy production,
which gives the album a more
intimate feel, seems to be intentional. With a bit of editing
this could have been one excellent EP. As it is, it's still a
pretty good LP. Because of
the quality of "Intolerance,"
I'll buy Hart's next album
even before hearing it; and
while I've heard Bob Mould's
record, I haven't bought it.
Bartholomew
The Fall
Extricate
(Cog-Sinister)
Every once in a while a
band comes along that no
matter how good they are
musically, they can't be enjoyed because of the obnoxious and arrogant lead personality. Some examples would
be Morissey of the Smiths,
Paul Weller when he was in
the Jam (there was nothing
enjoyable about the Style
Council) and Steve Albini of
Big Black / Rapeman. Most
people would think that this
would apply to Mark E. Smith
of the Fall, but just the opposite is true in this case. The
obnoxious arrogance of
M.E.S. actually heightens the
pleasure when listening to the
band's albums, including
their fourteenth, "Extricate."
This album, their first
'post-Brix' album - Brix
being Smith's now ex-wife
and guitarist on the Fall's last
seven albums — proves that
she was not an essential element in creating the disjointed
rhythms and venomous lyrics
which have come to represent
the Fall's music. We hear
Smith chanting "You You
You You You You know I
hate you baby, you maladjusted little monkey," doubtfully a reference to Brix, in
the song "Black Monk Theme
Part I." We also hear him actually SINGING "these are
the finest days of my life" in
"Bill is Dead", and we can't
doubt him on this point.
On "Extricate" we get a
virtual short history of the
Fall: the pseudo dance tracks,
the stream of consciousness
grunge, the full throttle pop
tunes, and even the well chosen cover ("Popcorn Double
Feature"). All the things that
the Fall constantly flirt with
are represented but with much
better production this time.
Bartholomew
MAY 1990 25 DISCORDER
DATEBOOK
TUESDAY 1 MartoSebe.ty.n
and Muzsltas at the Vancouver
East Cultural Centre (8pm.
SI5)... Ken Mitchell's two one
act comedies Dick * Jane Grow
Up and Heroes continue at Station Street Arts Centre
(8:30pm)... Matador by Al Mo-
dovar continues at the Vancouver East Cinema (7:15 &
9:35pm)... John Gray's musical
Rock and Roll continues at the
Vancouver Playhouse (until the
26th)... Roadklll featuring a
soundtrack by Teknaculler Raincoats. Cowboy Junkies, the
Ramones and others continues
at the Ridge Theatre (7:30 &
9:30pm)... UBC Film Divisions
Persistence of Vision '90 at the
Paradise Theatre (7:00 eV
9:00pm)... King ol Heart*
(7:00pm) and Diva (9:00pm) at
Starlight Cinema... Paintings by
Houthang Seyhoun on exhibit
at the Vancouver East Cultural
Centre (until the 28th)... Asian
Art Exhibit opens at the Asian
Centre Auditorium featuring
works by Liang Shlh-Feng, Letty
Shea. Johnson Susing Chow. Kel
Szeto. Gu Mel. and Tlnyen Chen
(until the 27th)... Art exhibits at
Community Arts Council: Shawn
Westlaken's Recent Works and
Anita Wong's Vessels In Ceramic
in the Lower Gallery, and Joseph Wong's The Vanishing
Countryside... Aurora Australls
Photographic Works continues
at Presentation House Gallery
(until the 27th)... Antonio Mun-
tadas' multi-media work Stadium IV on exhibit at the Charles
H. Scott Gallery (until the 6th)...
May works 1990 opens...
WEDNESDAY 2 Chris Houston and the Smugglers at the
Railway... Hot Wednesdays at
the Pit Pub. music by CITR... Steel
Kiss by Canadian playwright
Robin Fulford opens at the Vancouver Little Theatre (8:30pm.
S10). Dick* Jane Grow Up and
Heroes continue at Station
Street Arts Centre (8:30pm)...
Matador continues at the Vancouver East Cinema (7:15 &.
9:35pm)... Roadklll continues at
the Ridge Theatre (7:30 &
9:30pm)... Stephen Frears' My
Beautiful Laundrette (7:00pm)
and Sammy and Rosie get Laid
(9:00pm) at Starlight Cinema...
May works 1990 continues...
THURSDAY 3 CITR presents
The Chills from N ew Zealand and
11th Dream Day at the Town
Pump... Cool Thursdays at the
Pit Pub. music by CITR... Steel
Kiss continues at the Vancouver
Little Theatre (8:30pm. $10)...
Dick ft Jane Grow Up and Heroes continue at Station Street
Arts Centre (8:30pm)... Matador
closes at the Vancouver East
Cinema (7:15 &. 9:35pm)...
Roadklll continues at the Ridge
Theatre (7:30 & 9:30pm)... My
Beautiful Laundrette (7:00pm)
and Sammy and Rosie get Laid
(9:00pm) at Starlight Cinema...
Celebration of the 30th anniversary of Nltobe Japanese Garden's dedication... Mayworks
1990 continues...
FRIDAY 4 CITR presents Spirit
of the West with Luka Bloom at
the Commodore... Teenage
Head and Last Wild Sons at the
Town Pump... The Second City
Touring Company opens at the
Vancouver East Cultural Centre
(8pm)... Steel Kiss continues at
the Vancouver Little Theatre
(8:30pm. $10)... Dick ft Jane
26 DISCORDER
Grow Up and Heroes continue
at Station Street Arts Centre
(8:30pm)... Denys Arcand's Jesus of Montreal (7.30pm) and
The Declne of Ihe American
Empire (9:45pm) at the Vancouver East Cinema... Roadklll continues at the Ridge Theatre (7:30
& 9:30pm)... Vincent: the Ufe
and Death of Vincent Van Gogh
(700pm) and Amadeus
(9:00pm) at Starlight Cinema...
1990 Quickie ROHO National
Wheelchair Basketball Championships at War Memorial and
Osborne Gymnasia..
SATURDAY 5 CITR presents
Spirit of Ihe West at the Commodore... The Hollowheads, The
Picasso Set and Cartoon Swear
at the Scout Hall... Teenage
Head and Last Wild Sons at the
Town Pump... David Raven Band
at 86 Street... Luka Bloom at the
WISE Hall!... Steel Kiss continues
at the Vancouver Little Theatre
(8:30pm. $ 10)... The Second City
Touring Company continues at
the Vancouver East Cultural
Centre (8pm)... Dick ft Jane
Grow Up and Heroes closes at
Station Street Arts Centre
(8:30pm)... Jesus of Montreal
(7:30pm) and The Decline of the
American Empire (9:45pm) at
the Vancouver East Cinema...
Roadklll continues at the Ridge
Theatre (7:30 & 9:30pm)... Sound
ot Music (2:00pm). Vincent: the
Life and Death of Vincent Van
Gogh (7:00pm), Amadeus
(9.00pm). and The Rocky Horror
Picture Show (midnight) at Starlight Cinema... 1990 Quickie
ROHO National Wheelchair Basketball Championships at War
Memorial and Osborne Gymnasia... Out of the Cradle and Into
the Creek fish release program
at Kanaka Creek Regional Park.
Maple Ridge (10:00am-
2:00pm)... Mayworks 1990 con-
SUNDAY6 Nardwuar the Human Serviette Presents Ugh!
Glgantor at the Smash Gallery
with Untamed Youth from Missouri, the Rattled Roosters, the
Evaporators, and the Smugglers... The Rave-ups and
Chickasaw Mudpupples at the
Town Pump... The Second City
Touring Company closes at the
Vancouver East Cultural Centre
(8pm)... Jesus of Montreal
(7:30pm) and The Decline of the
American Empire (9:45pm) at
the Vancouver East Cinema...
Roadklll continues at the Ridge
Theatre (7:30 8r 9:30pm)... The
Land Before Time (2:00pm). Vincent: the Life and Death ot Vincent Van Gogh (7:00pm), and
Amadeus (9:00pm) at Starlight
Cinema... Stadium IV exhibition
closes at the Charles H. Scott
Gallery... Vancouver International Card Show at Heritage
Hall (10:00am-5:00pm)... 1990
Quickie ROHO National Wheelchair Basketball Championships at War Memorial and
OsbomeGymnasia... Mayworks
1990 closes...
MONDAY 7 TheMteslonand
The Wonderstutf at the Commodore... Untamed Youth and
Chris Houston at the Railway...
Francois Truffault's The Little
Thief (7:15pm) and Milos Foreman's Valmont (9:15pm) at the
Vancouver East Cinema...
Roadklll continues at the Ridge
Theatre (7:30 & 9:30pm)...
Cousin Cousin* (7:00pm) and
La Lectric* (9:00pm) at Starlight
Cinema...
TUESDAY 8 Steel Kiss con tin
ues at the Vancouver Little Theatre (830pm. $10)... The Little
Thief (7:15pm) and Valmont
(9:15pm) at the Vancouver East
Cinema... Roadklll continues at
the Ridge Theatre (7:30 &;
9:30pm)... Cousin Couslne
(7:00pm) and La Lectrlce
(9:00pm) at Starlight Cinema...
WEDNESDAY 9 Stein Festival Party with Sarah McLachlan,
BID Henderson. Skywalk and
Metropolis Dance at the Commodore UBC Summer Strings
Concert at the Recital Hall
(12:30pm). . Hot Wednesdays at
the Pit Pub. music by CITR... Steel
Kiss continues at the Vancouver Little Theatre (8:30pm. $10)...
Spike Lee double bill with Do the
Right Thing (7:15pm) and School
Daze (9:30pm) at the Vancouver East Cinema.. Roadklll
closes at the Ridge Theatre (7:30
& 9:30pm)... Romero (7:00pm)
and Salvador (9:15pm) at Starlight Cinema...
THURSDAY 10 Cool Thursdays at the Pit Pub. music by
CiTR... Steel Kiss continues at the
Vancouver Little Theatre
(8:30pm, $10)... Do th* Right
Thing (7:15pm) and School Daze
(9:30pm) at the Vancouver East
Cinema... Simon Fraser University Stud*nl Films at the Ridge
Theatre... Romero (7:00pm) and
Salvador (9:15pm) at Starlight
Cinema...
FRIDAY 1 1 CITR presents
Scramblers, Sissy Boys, Brain-
eaters reunion and Elvis
Lovechlld at the Commodore...
Forgotten Rebels at the Town
Pump... UB40 at the Queen Elizabeth Theatre... Pacific Coast
Music Festival in the Old Auditorium. SUB Ballroom, Freddy
Wood Theatre, and Dorothy
Somerset Studio (4:00-
8:00pm)... St**l Kiss continues
at the Vancouver Little Theatre
(8:30pm, $10)... Murmer of the
H*art at the Ridge Theatre (7:15
&. 9:30pm)... Canadian Premiere of Chopsticks and Matzo
Balls (7:30 & 9:30pm) at Starlight
Cinema...
SATURDAY 12 One Riddim,
Benny and th* Sunders, Tropical
Breeze, Dido, and Soul Survivor
at the Commodore... Forgotten
Rebels at the Town Pump...
Pacific Coast Music Festival In
the Old Auditorium. SUB Ballroom, Freddy Wood Theatre,
and Dorothy Somerset Studio
(9:00am-6:00pm)... Thurman
Baker and Joseph Jarman at
Tom Lee Music Hall... Steel Kiss
continues at the Vancouver
Little Theatre (8:30pm, $10)...
Murmer o( the Heart a t the Ridge
Theatre (7:15 & 9:30pm)... Gone
with th* Wind (2:00pm), Chopsticks and Matzo Balls (7:30 &
9:30pm) and Depeche Mod*
101 (midnight) at Starlight Cin-
SUNDAY 13 CITRpr*s*nts
Sons of Freedom at th* Paramount.. Bobby Watson and
Horizon at the Arts Club Revue
Stage... Murmer of th* Heart at
the Ridge Theatre (7:15 &
9:30pm)... Charlotte's Web
(2:00pm) and Chopsticks and
Matzo Balls (7:30 & 9:30pm) at
Starlight Cinema...
MONDAY 14 sam w*is
from Seattle at the Scandalous
Folk Club... Flggy Duff from Newfoundland at the WISE Hall
(830pm).. New Work by Alex
Varty by Vancouver Pro Musica
at the Glass Slipper (8pm)...
Murmer of th* Heart at the Ridge
Theatre (7 15 8c 9 30pm). Chopsticks and Matzo Balls (7:00 &
9:00pm) at Starlight Cinema...
TUESDAY 15 St**l Kiss con-
tlnues at the Vancouver Little
Theatre (8:30pm. $10)... Murmer
of th* H«art at the Ridge Theatre (7:15 8i 9:30pm)... Chopsticks and Matzo Balls (7 00 &
9:00pm) at Starlight Cinema...
WEDNESDAY 16 ubc
Summer Strings Concert at the
Recital Hall (12:30pm)... Hot
Wednesdays at the Pit Pub.
music by CiTR... Steel Kiss continues at the Vancouver Little
Theatre (8:30pm. $10)... Murmer
of th* H*art at the Ridge Theatre (7:15 & 9:30pm)... Chopsticks and Matzo Balls (7:00 &
9:00pm) at Starlight Cinema...
THURSDAY 17 SonsolFr**-
dom at the Town Pump... Cool
Thursdays at the Pit Pub, music
by CiTR... Steel Kiss continues at
the Vancouver Little Theatre
(8:30pm, $10)... Murmer of the
Heart at the Ridge Theatre (7:15
81 9:30pm)... Chopsticks and
Matzo Balls (7:00 & 9:00pm) at
Starlight Cinema...
FRIDAY 18 CITR presents
Toots and th* Maytals and
Mango Dub at th* Commodore... Bob's Your Unci* at the
Town Pump... Steel Kiss continues at the Vancouver Little Theatre (8:30pm, $10)... Th* 2nd
Annual B Festival opens at the
Vancouver East Cinema... Murmer of th* Heart at the Ridge
Theatre (7:15 &. 9:30pm)... My
Life as a Dog (7:00pm) and
Bab*tt*'s Feast (9:15pm) at Starlight Cinema...
SATURDAY 19 D*IAmltrlat
the Town Pump... Steel Kiss continues at the Vancouver Little
Theatre (8:30pm. $10)... Th*
Second Annual B Festival continues at the Vancouver East
Cinema... Murmer of the Heart
at the Ridge Theatre (7:15 8r
9:30pm)... Some Ilk* It Hot
(2:00pm). My Ufe as a Dog
(7:00pm). Babette's Feast
(9:15pm), and Th* Rocky Horror
Picture Show (midnight) at Starlight Cinema...
SUNDAY 20 Roots Roundup
at the Town Pump... Th* Second
Annual B Festival continues at
the Vancouver East Cinema...
Murmer of th* Heart at the Ridge
Theatre (7:15 & 9:30pm)... Who
Framed Roger Rabbit (2:00pm).
My Lit* as a Dog (7:00pm) and
Babette's F*ast (9:15pm) at Starlight Cinema...
MONDAY 21 CITRpr*s*nts
Psychic TV at th* Town Pump...
Reggae Sunsplash '90 at the
Thunderbird Stadium (2:00-
6:30pm) with Burning Spear,
Freddie McGreggor, Marcla
Griffiths, Shinehead, U-Roy.
Shelly Thunder and th* S09
Band, and MC Tommy Cowan...
Th* Second Annual B Festival
continues at the Vancouver
East Cinema... Murmer of th*
H*art at the Ridge Theatre (7:15
& 9:30pm)... Th* Big Chill
(7:00pm) and Th* Decline ofthe
American Empire (9:00pm) at
Starlight Cinema...
TUESDAY 22 citr Pr*s*nts
Michelle Shocked at th* Com-
modor*... Steel Kiss continues
at the Vancouver Little Theatre
(8:30pm. $10)... Th* Second
Annual B Festival continues at
the Vancouver East Cinema...
Murmer ot th* Heart at the Ridge
Theatre (7:15 & 9:30pm)... Th*
Big Chll (7:00pm) and Th* D*-
cllne of the American Empire
(9:00pm) at Starlight Cinema...
WEDNESDAY 23 Christy
Moor* at the Commodore...
UBC Summer Strings Concert at
the Recital Hall (12:30pm)...
Steel Kiss continues at the Vancouver Little Theatre (8:30pm.
$10)... Hot Wednesdays at the
Pit Pub. music by CiTR...Th*
Second Annual B Festival continues at the Vancouver East
Cinema... Murm*r ot th* H*art
at the Ridge Theatre (7:15 &
9:30pm)... Wh*n Harry m*t Sally
(7:00pm) and Manhattan
(9:00pm) at Starlight Cinema...
THURSDAY 24 Thesiio'sat
the Town Pump... Opening reception for Sonic Boom 1990.
the fourth annual open festival
for young composers, at the
Glass Slipper (7:30pm, $8/$6)...
Cool Thursdays at the Pit Pub.
music by CiTR... Steel Kiss continues at the Vancouver Little
Theatre (8.30pm. $10)... Th*
Second Annual B Festival continues at the Vancouver East
Cinema... Murmer of th* H*art
closes at the Ridge Theatre (7:15
8r 9:30pm)... When Harry m*t
Sally (7:00pm) and Manhattan
(9:00pm) at Starlight Cinema...
FRIDAY 25 Dr*adZ*pp*Hn
at the Town Pump... Sonic Boom
1990 at the Glass Slipper... Steel
Kiss continues at the Vancouver
Little Theatre (8:30pm. $10)...
Th* Second Annual B Festival
continues at the Vancouver
East Cinema... Festival of Environmental Films at the Ridge
Theatre... S*x. Ues and VWe-
otap* (7:00pm) and Last Tango
In Paris (9:15pm) at Starlight
Cinema...
SATURDAY 26 Dharma
Bums at the Town Pump... Sonic
Boom 1990 at the Glass Slipper...
Steel Kiss closes at the Vancouver Little Theatre (8:30pm, $10)...
Rock and Roll closes at the Vancouver Playhouse... Th* Second Annual B Festival continues
at the Vancouver East
Cinema... Festival of Environmental Films at the Ridge
Theatre... Doctor Zhivago
(2:00pm), Sex, Lies and
VW*otap* (7:00pm) Last Tango
In Paris (9:15pm), and Eraser-
head (midnight) at Starlight
Cinema...
SU N DAY 2 7 Ian Tyson at the
Vancouver East Cultural
Centre... Th* Second Annual B
Festival closes at the Vancouver East Cinema... Aurora Australls: Photographic Works
closes at Presentation House
Gallery (until the 27th)... Asian
Art Exhibit closes at the Asian
Centre Auditorium... Festival of
Environmental Films at the
Ridge Theatre... An American
Tall (2:00pm). Sex, Um and
Vld*otap* (7:00pm) and Last
Tango In Paris (9:15pm) at Starlight Cinema...
MONDAY 28 Rachel Page
at the Scandalous Folk Club...
Ian Tyson at the Vancouver East
Cultural Centre... Exhibition of
paintings by Houshang Seyhoun
closes at the Vancouver East
Cultural Centre... Festival of Environmental Films at the Ridge
Theatre... Bagdad Cat*
(7:00pm) and Sugar Baby
(9:00pm) at Starlight Cinema...
TUESDAY 29 Ian Tyson at
the Vancouver East Cultural
Centre.. Festival of Environmental Films at the Ridge Theatre... UBC's annual graduation
ceremonies (9:30am 81 2:30pm)
in the War Memorial
Gymnasium.. Bagdad Cafe
(7:00pm) and Sugar Baby
(9:00pm) at Starlight Cinema...
WEDNESDAY 30 ubc
Summer Strings Conc*rt at the
Recital Hall (12:30pm)... Ian
Tyson at the Vancouver East
Cultural Centre... Hot Wednesdays at the Pit Pub. music by
CITR.. Festival of Environmental
Films at the Ridge Theatre...
UBC's annual graduation ceremonies (9:30am & 2:30pm) In
the War Memorial Gymnasium...
Heavy Petting (7:00pm) and
Sh*'s Gotta Hav* tt (8:45pm) at
Starlight Cinema...
THURSDAY 31 cool
Thursdays at the Pit Pub. music
by CiTR... UBC's annual graduation ceremonies (9:30am &
2:30pm) In the War Memorial
Gymnasium... Heavy Petting
(7:00pm) and She's Gotta Have
It (8:45pm) at Starlight Cinema...
VENUES VENUES
CHARLES H. SCOTT GALLERY
Emily Carr 1399 Johnston Street.
Granville Island 687-2345
CLUB SODA 1055 Homer Street
681-8202
COMMODORE BALLROOM 870
Granville Street 681-7838
COMMUNITY ARTS COUNCIL
837 Davie Street 683-4358
8* STREET MUSIC HALL former
ExpooSite 683-8687
FIREHALL ARTS CENTRE 280 East
Cordova Street 689-0926
GLASS SLIPPER 185 East 11th
Avenue
GRUNT GALLERY 209 East 6th
Avenue 875-9516
HERITAGE HALL 3102 Main Street
PACIFIC CINEMATHEQUE 1131
Howe Street 688-3456
Pin INTERNATIONAL GALLERIES
36 Powell Street 734-8001
PRESENTATION HOUSE 333 Chesterfield Avenue. North Vancouver 986-1351
RAILWAY CLUB 579 Dunsmuir
Street 681-1625
RECITAL HALL School of Music.
6361 Memorial Road 228-3113
RIDGE THEATRE 3131 Arbutus
Street 738-6311
SCANDALOUS FOLK CLUB. 127
Lonsdale Avenue. North Vancouver 926-2663
SCOUT HALL Francis Road and
#1 Road, Richmond
SMASH GALLERY 160 West Cordova Street
STATION STREET ARTS CENTRE
930 Station Street 688-3312
STUDIO 5B Main Building. Lan-
gara Campus 324-5227
TOM LEE MUSIC HALL 929
Granville Street
TOWN PUMP 66 Water Street
683-6695
VANCOUVER EAST CINEMA
2290 Commercial Drive 253-
5455
VANCOUVER EAST CULTURAL
CENTRE 1895 Venables Street
254-9578
WISE HALL 1882 Adanac Street
(right behind the Cultch) 736-
3022 WITH TV AN* 10$ CrlAA//V!tC5... W0U/ AK YOU SERIOUS? MUSIC SAM-NOON
The newest new music: Ugetl. Dho-
mont. Schnlttke. Lutoslowskl. BktwWte.
etc. Information on concerti. record-
Be rto and Gloclnto SceU (maybe)
THE BRUNCH REPORT 12-121SPM
Newt. sports, weather and more with
the CITR News. Sports ond Weather Department!.
THE ROCKERS SHOW 12 15-3 OOPM
Reggae. Rock Steady and Ska with
George Barrett.
BLUES AND SOUL SHOW 3-5 OOPM
Lachlan Murray provides the best o(
blues, rhythm and blues, funk and soul.
THE SUNDAY NEWS MAC... 5 5 30PM
CUR'S in-depth current affairs/news
v Coverage and analy-
UBC News, plus news and
sports.doly editorial commentary. en-
Brown at his best with Roach and Roans
(drums and tenor saxophone) One of
the most Important Jazz groups ever
28th Phorooh Sanders' first featured
recording tonight caled Touhid" was
like a bkstf from a hot furnace when
Issued In 1966 Sonde™ on flute, otto
ond tenor saxophones along wtth 'out'
gultor master Sonny Sharock. Music
that chatanges and confronts Hke a
Spike Le
events hereatUBC.allnacomprehen-
sK/e and comprehensible magazine
pockoge And we promise, no traffic
HEARSAY S3O-60OPM
The best In Iterature. ON RADOI Hear
what our contributing outhors have to
say Poetry, rodso plays, creative non-
fiction, short stories: the best of the
bunch. Please contribute! Get In touch
wthKlm. Richard. Antje. BarbaraorChrls
at 228-3017.
DE-COMPOSITIONS 4-i:00f>M
Eclectic music and caustic alphabets
Spoken word Alternates Sundays with...
ELECTRONIC SMOKE SIGNALS 6 8 OOPM
Information, news. Interviews, political
anatyls from the global cultures of resistance. Hosted by Horaclode la Cueva
» Sundays wtth De-Composl-
RA0IO FREE AMERICA 10PM-MIDNIGHT
Join host Dave Emory for some extraor-
dnary political research guaranteed to
make you think twice. Bring your tape
deck and two C-Ws. Originaly broadcast on KF JC (Los Altos.CA).
IN THE CRIP OF INCOHERENCY 12-
4.00AM
So what it Barry doesn't show up anymore? Who gives a shit? Guldo and
Trtni stl do.
THE MORNING SHOW 7 30-B1SAM
See Monday for details.
RADIO FILM THREAT 5 30 6 OOPM
Brought to you from the environs (
CFRU Radio Guelph. this show promis<
to present the of
THE AFTERNOON REPORT 1-1 15PM
See Monday for detodi
SLOOD ON THE SADDLE 1:16-3:00»M
Country music to scrape the cowshlt off
your boots to. With yer host-poke. Jeff
THE UNHEARD MUSIC 3-5 OOPM
Demo Director Dale Sawyer provides
some Insights Into the best and the
worst of the newest Canodtan music.
And he's not teing you which is whlchl
THE CITR DINNER REPORT 5-5 30PM
See Monday for details.
BC F
K 4-70C
PERMANENT CULTURE SHOCK 9 00-
12:00AM
Permanent (per-md-ndnt): lasting. Intended to last. Indefinitely;
CuHure Ck*_har): (1) the cMbatlon of
a given race or nation at a give n time or
over al time; 0) the raising of microorganisms in speciaty prepared medio
for scientific study;
Shock(sh6k): (1)violentcofcion.concussion. (2) sudden and disturbing
mental and physical impressions.
just just sitting ducks.
UVE FROM THUNDERIIRD RADIO HEU
10 0OPM-120OAM
Janice McKenzie ploys the local demo
tunes, whte Peter. NardwuaKand sometimes Ed) introduce the live bands at
10»h "List of Mn Arson- (a new Patrick
"wonderboy' Sampler project).
MECA1LAST1 12:30-4:00 AM
Concepts, noise, Radio Deutsche Welle
now you can request whole shows!.
band speck*, turntable feedback-
gammon courtesy uncle miffy. stagnating creativity: welcome to late night
NOW YOU HAS JAZZ 8 15-10 00AM.
JAZZ FEATURE FROM 11:00AM-12:00PM
Join me. Tommy Paley. on a new day!
Now on Thunda/s with an extended
one hour featurel A morning of stories,
anecdotes. JAZZ, ond humour(maybe)
Tommy might be the answer to your
question, or he might not...moybe you
dont have a question., t nothing else.
Ifs worth getting up ford know I do.)
ii a
rvl2:pr
y Barb Woldem and
AVANT-PIC 700-900PM
Avant-garde thuggery with Pete
Lutwyche. First Tuesday eoch month:
World Music Exploration NEW NAME!
mvw-.-mm
THE MORNINC SHOW 7 30-8 ISAM
See Monday for details. Host Luc
CHnsdaie.
WHITE NOISE 8:16-10 00am
The bastard love child of 70s progressive and 80s electronic has changed
time slots!. Improvised fusions of traditional ihythms from around the globe.
Burroughs. Pynchon. "unreleased IVe
sets' and more. Hosted by Chris Bray-
In the Kwa language of Yoruba, there are two words for radio:
"Ghohun-ghohun" (snatdier of voices), and "A-s'oro ma gb'esi"
(that which speaks without pausing for reply). CiTR 101.9 fM is
both. Listen and find out for yourself. But first read ON THE DIAL.
May 3-BMe Holiday
May 10-W52 (Dances and BoHods LP)
May 17-Dave Brubeck Quartet
May 24-Eric Dolphy (Out to Lunch LP)
HANFORD NUCLEAR PIZZA PIE 10:00-
11:00 AM
Fueled only by a lump of string cheese
and a single Crunch Berry... It's Rowena
bouncing about the Pocific Northwest
Coast. Lookout. Boiingl
JIGGLE NOON-1:00PM
Mikes mom took away the car. Gov's
got a bus pass, and Ifs the same old
crap that nobody likes. JIGGLE JIGGLE
JIGGLE ti the cows come homel
New Time.Daisy gets to sleep In...
THE MORNINC SHOW 7:30-8:16AM
From the famous siren to the not-so-famous BBC World Service, wake up with
The CITR Morning Show. Information to
go: news, sports, weather and 'scenic
view' (read: radar) reports, features,
ent ertalnment reviews and Abe rta Hog
prices. Wake up wtth Stefan and a yard
f ul of smtes and happiness. Weekdays!
THE AFTERNOON REPORT 1-M6PM
Lunch goes down better wtth The Afternoon Report. Tune In for no frlfc news,
sports, and weather.
SOUND OF BEAUTY 3 6:00PM
ExperimentalRodto.wtthVlslonl Featuring environmental sounds, found noises.
Information/propaganda and the
worlds primitive and experimental
musics from the auditory fringe. Live!
Contributions welcome. Practitioner
Anthony Roberts.
SPORTS DIGEST 5:3O-6:0OPM
Join the CITR Sports Department for all
the latest In Thunderbird varsity sports
action and sports everywhere else for
that matter. Interviews, tool
THE JAZZ SHOW 9:00PM- 12:00AM
Vancouver's longest running prime time
jazz program. None of that late night
craveyard/eorty weekend Jazz. Features atll. Hosted by the ever-suave
Gavin Wafcer...
7th Oliver Nelson accomplished many
things In his short Ve (1932-1975)..he
mastered al the saxophones, wrote,
composed (Jazz. classical,
movies)...we'! hear his soprano saxophone tonight. Nelson was one of the
14th Juion Prierfer (who Ives In Seattle)
has always been one of the most ca-
pabietrombonistslnJc__ Hi
Roach. Herbie Hancock. David Holand.
Here he b on his first album under his
own name. "Keep Swingin"
21st -Sonny Rollins Plus Four* Is In reality
the last studio recording of The CWford
Brown-Max Roach Quintet before
Brown's untimely death In June 1956
ARE
YOU
SERIOUS?
MUSIC
BLUES AND
SOUL
SHOW
n ai ii if
8
9
10
11
■,
2
3
4
5
6
7
8
9
10
11
12
1
2
3
THE CITR DINNER REPORT 5 00-530PM
See Monday for details
UVE FROM THE KNITTING FACTORY 6 00-
Located in North Soho. the Knitting Factory Is the workroom for the New York
Downtown music world where musicians
experiment with rock, folk and Jazz conventions. These performances were recorded In late 1989.
TUESDAY WEDNESDAY THURSDAY
HE MORNING SHOW - BBC RADIO NEWS REI
17th CrispeH & Cyriile/Bittova * Fatt
24th Third Person
Jlst Dan Byron plays Mickey Katz/Ka-
hondo Style.
Upcoming shows: Gods £k Monsters. X-
Legged SaHy ond Dr. Nerve.
BIC DUMB SEX 7-900PM
NEW TIME! Richard Gere knows the
DatolLama Biondie did a theme song
for a Richard Gere movie. Pat and Lisa
have looked at the cover of a Biondie
ARTS CAFE 6:30-6:00 PM
Be updated, be wtth it. be informed
about Art. theatre, flkn ond ony other
cultural event happening In Vancouver. With Antje!
BREAKFAST
WITH THE
BROWNS
ELECTRONIC
SMOKE SIGNALS/
)E COMPOSITIONS
SUNDAY MAG
PLAYLOUD
(THIS IS NOT
A TEST)
ONE STEP
BEYOND/RADIO
FREE AMERICA
IN THE
GRIP OF
INCOHERENCY
SPORTS DIGEST
YOU PAYS YOUR
MONEY YOU
TAKES YOUR
CHANCES
THE JAZZ
SHOW WITH
GAVIN
WALKER
ENVIRONMENTAL
SCATOL-
OGY
1-
ANOTHER SIDE
OF BLAND
BLOOD ON
THE SADDLE
UNHEARD
MUSIC
CURRENT AFFAIRS
BEAT HEADS
VERSUS
WOLF AT
THE DOOR
AURAL
TENTACLES
WHITE
NOISE
MID-DAY
PHALLACY
PAULA'S
MUG
CURRENT AFFAIRS
FLEX
YOUR
HEAD
ARTS CAFE
PERMANENT
CULTURE
SHOCK
OPEN
SEASON
NOW YOU
HAS JAZZ
TOP OF DA BOPS
scon B.
SYMPATHY
SHOW
LIVE FROM
THUNDERBIRD
RADIO HELL
MEGA
BLAST!
SCRAMBLED
EGGS
MOVING IMAGES
THE VENUS
FLYTRAP
SHOW
.VALUE OF NOSE
RANDOM SAM..
HE RECORD
HOME VIDEO
I.N.T.E.R.N.A.
T.I.O.N.A.L
STOMP ON
THAT
BOPPA-
TRON
JOIN
THE
RHYTHM
OF
MACHINES
mm
POWER
CHORD
EVERYTHING
YOU KNOW IS
WRONG
RADIO FREE
PARKING
THE MORNINC SHOW 7:308:16AM
See Monday for detaits.(Wake up wtth
Stefan and a yard ful of smiles and
MOVING IMAGES 10:30-1 l:0OAM
Join host Ken Modntyre as he takes you
on a tour through the silver screen's
bock lot of life wtth film news, reviews.
Interviews and soundtracks.
VENUS FLYTRAP 11:00PM-100PM
- " » Is your guide "
ITS NOT EASY SEINCCREEN 1:15-2:30PM
The greenest of the CiTR DJ crop try
togermlnate and take root on the air
Ifyou are interested In CITR programming possibMties. phone the Program
Director ot 228-3017.
ABSOLUTE VALUEOF NOISE - PART ONE 2
30-3 30PM AND PART TWO 4-500PM
Found sounds, tape loops, compositions of organized and unorganized
ouraHty. power electricians and sound
collage Uve experimental music. 100%
Canadian Industrialism
NARDWUAR THE HUMAN SERVIETTE PRESENTS... 3:3O-4:0OPM
Hoody hoody hoody hoody hoody!
Chimichangas!
THE Cm* DINNER REPORT S-6:30PM
See Monday for details.
HOME VIDEO INTERNATIONAL 7- 9:00PM
Radio adaptations of movies. Taping
this program b strictty prohibited.
STOMP ON THAT BOPPATRON 9PM-12:30
AM
The donee floor beat brought to you
by DJ Mick Hard. Pin them neediest
JOIN THE RHYTHM OF MACHINES 12:30-
4:00AM
Exploring the relationship between post-
night-out anxiety, the complexity of
human movement performance, and
Tear ligaments to 242.KMFDM. Pankow,
etc.... Hosted by Uoyd Uliana.
Upcoming Interviews: Nitzer Ebb. Bor-
ghesia.Klir* and Suicidal Tendencies..
THE SATURDAY EDGE SAM-NOON
Steve Edge hosts Vancouver's biggest
and best ocoustic/roots/rogue folk music radio show. Now in Its fifth year on
CiTR! UK Soccer Report at 11:30.
THE BRUNCH REPORT NOON-12:15PM
News, sports, weather and an approprt-
POWERCHORD 12:16-3:0OPM
Vancouver's only true metal show with
the underground speed to mainstream
metat local demo topes, imports and
other rarities Gerald Rattlehead and
Metal Ron do the damage.
IN EFFECT 3-S00PM
The Hip Hop Beat brought to you by DJs
NtelScobie.ChazBarkerand BIITzotzolis.
THE YAP GAP 5:30-600PM
Hear figures In the Arts world talk about
their works, other peoples works and
anything else thot occurs to them.
Hosted by Antje Rauwerda
EVERYTHING YOU KNOW IS WRONG 4-
8.00PM
You'd think you were hottoo ifyou had
DISCORDER CITR provides free aktlme for Community AccessbygroupsandlndMduc«_ If
you or your group would Ite to soy
something to someone somewhere,
please cal the Program Director at 228-
3017.
it 1800 wi
campus and beyond Opportunities
abound! Wheeee! Programming,
producing, editing, writing, engineering, operating, announcing, hosting, etc
etc etc. Come by the studios during
normal office hours We're located In
Room #233 on the second floor of the
Student Union Butdlng. Or phone us at
228-3017. And yes. Jen Ke»y. everyone
iswelcome regardless of age! So come
on by and see for yoursen
Wei. the school year Is coming to a
dose, which means that a new CITR
executive wi soon be grappling wtth
fhe reigns of responstoWy of participating in the running a radio station for another twelve months The new names
are as follows:
ARTS DIRECTOR ANTJE RAUWERDA
CURRENT AFFAIRS DIRECTOR
STEFAN ELUS
DEMO DIRECTOR DALE SAWYER
DEVELOPMENT COORDINATOR
UNDA SCHOLTEN
MOBILE SOUND COORDINATOR
LINDA SCHOLTEN
MUSIC DIRECTOR
LLOYD ULIANA 8t RANDY IWATA
NEWSDIRECTOR STEFANELLE
PRESIDENT ROBYNN fWATA
PRODUCTION MANAGER. MKELYSENG
PROCRAM DIRECTOR.... KIM TRAINOR
PROMOTIONS DIRECTOR DOCrTTA FONG
SPORTS DIRECTOR JEFFPATERSON
TRAFFIC DIRECTOR TOMMYPALEY
VICE PRESIDENT BARB ELGOOO
VOLUNTEERCOOR0INATOR.. BILL BAKER
BUSINESS UNE 228-3017
DJ UNE 228-2487 (228-CFTR)
NEWS UNE 222-2487 (222-CiTR)
FAXUNE 228-6093
STANDINUNE ROOM 233. SECOND
FLOOR OF THE STUDENT UNION BUILDING. 6138 SUB BOULEVARD. UNIVERSITY
OF BRITISH COLUMBIA, VANCOUVER. BC
V6T2A5.
CiTRs newest arts program exposing
the written word as art needs youl Be
they poetry, prose, radio drama, etc. if
youwould Ike toreod your written works
out on Hear Say. or If you would Ike to
have your works vocalised foryou.Just
phone the Hear Say coordinators at
228-3017. More so that most other
shows, the success Hear Say realty depends on Its contributors. That means
you dear reader.
MUSICAL
EXPRESSION!
CiTR welcomes ol musics wtth open
ears, lyouwannasubmttanymaterial.
just remember to include Important
deta* like names, phone numbers,
addresses, etc. Send/oddress to the
attention of the Demo Director or the
Music Directors please. Thank you
MUSICAL
EXPRESSION II
SpinUst and Demo List have had a bit of
a face Ift. The three lists you see to the
right should reflect the frequency of
airplay of new releases and other keen
things received by CiTR 101.9 fM over
the past little while. SINGLE MAGNETIC
PARTYCLOTHES is the listing of the more
frequently played songsf rom demo and
cassette submissions SHORT GROOVES
is the listing of the more frequently
played seven-Inch and twelve-inch
multi-track and extended play albums
and short compact discs. LONG
GROOOOOVES is the listing of of the
more frequently played long play albums and compact discs. Any type in-
bold foce signifies Canadion content.
Fore more Information on these lists and
any other matters concerning CiTR's
broadcast of musical eipresslon. please
contact the Music Department.
SINGLE MAGNETIC PARTYCLOTHES
APRIL 1990
JOJOKA
•Crow*
TANKHOG
'ReptHUon'
MOBILE SLUDGE DEWATERING UNIT
"23, Drunk and Nowhere'
PAULA REMPEL
•Letter
ROOTS ROUNDUP
'Bouiderdath'
PLANET OF SPIDERS
"Hey"
TRAMBUNG MIMSIES
■Ride theWHdSurf You...'
HOUOWHEADS
Interesting Shoe*'
THE WORST
The Creepy Thing'
PUKE THEATRE
■Angzt tz to CooT
SUCTION
•BUnd Choke-
ROOTS ROUNDUP
Sleeptn"
CHIEFS OF BELIEF
■RatseaHancT
DRUMS ALONG THE GARDINER
'My Hometown'
EARTH LING
'Surprise Me'
SUPERCAUSTIC FERTILIZER
'Sweating Bullets'
TOUCH AND GO'S
'Stupid Gkf
HOWE SOUND
•Somebody GkT
MC TERROR T
'Rapptn' Rhythm Rhymln"
CHRIS HOUSTON
'Just Once for Kicks'
GERRY HANNAH
'Wind over Wafer
SANDY SCOFIELD
'Angels'
EARTHUNG
•Garden ot Earthly Delight'
THE RATTLED ROOSTERS
•Pretty Thing"
BARON VON FOKKER
'Post Modem Youth'
BRUCE A AND THE SECULAR ATAVISTS
'By Request'
DRUMS ALONG THE GARDINER
'Boronto'
CHRIS HOUSTON
"Wish # was you'
THE INTOWCATORS
'Mighty Idy'
HIROSHI YANO
Stone Cutter"
JIMMY ROY AND THE FIVE STAR HILLBILLIES
•Everybody s Tahdn"
ROUTE 666
'King Shlf
SEETHRU FLOWERS
To Cynthia Gray'
T.T. RACER
"1990s"
ROUTE 666
'Goodness'
SEA ELEPHANTS
'Lay your Burden Down'
SARCASTIC MANNEQUINS
'Eye Swallow'
DIRT
'Headlights'
HARD ROCK MINERS
'Not the Blue Tall Fry'
BRUCE A AND THE SECULAR ATAVISTS
•Alt Tom Up-
FLYING BULGAR KLEZMER BAND
•IshaTsFreylekh-
ELIZABETH FISCHER
•Pair ot Dice"
SMUGGLERS
'5-4-3-2-1"
PAT TEMPLE AND HIGH LONESOME
•No MoonHghTrAlter Fke-
SISTER ELECTRIC
'IntotheWUd*"
JOJOKA
'Dogs Awaiting'
CATHERINE WHEEL
•Slowing Down'
SHE-DEVILS ON WHEEL-
'30-9-89 (excerpt)'
MARY
'101 Knights'
LOUISE B.
'Speedwell Caverns'
TANKHOG
Tears'
JACK FEELS FINE
•Black Sky"
GERRY HANNAH
■Night of theorem'
PUKE THEATRE */ love You. 1 Wanna Smash Your Face'
IMAMU BARAKA
'Its Fine how It Stands'
KING APPARATUS
•Made for TV
CHURCH OF DOUG
7 Heard the Angels Singing"
©#•*! (CARTOON SWEAR)
"Shoes"
GREEN HOUSE
"Dive"
GREEN HOUSE
"Spring wm Come"
HARD ROCK MINERS
•Making Ihe Bed Rock-
THE BOY ALLIES
■Happy Cat-
NEIGHBORS
'Footsteps'
JR. GONE WILD
"One Gun Town'
THE LUDWIGS
Talking lo You'
HARMONIC DESTRUCTION
'Pretty Picture*'
SOUND BUTCHERS
"Moming Sky
TEN COMMANDMENTS
'She Ain't no use fo me'
PAINTED POETS
'Despite all this'
CHARUE MOROW
•BPforbp'
GAIL LANDAU
'Here Comes Confusion'
MARILYN LERNER
'Naladam and Naleve'
RAWUNS CROSS
•Shaken Up'
MUCH LIKE PEOPLE
-White Home Coof
THE MAD
'This is only a Test...'
BANG TWANG
"AM of Ihis to You"
BRAIN DAMAGE
"White Ues"
BLAIR PETRIE AND S. TISCHLER
The Nlghtrider"
HONEST JOHN
"Circus ot Smiles"
ANDRASWAHORN
•Paris Is a Big City
THE PALM SISTERS
's Song Demo"
THE SPLINTERS
"Go Away"
RANDY WARD PELLES
"Symphony X*
FLESH
-Death"
FYF
"Whack Me"
WAGES OF SIN
'Pretty Blond Enigma"
LONG GROOOOOOOVES
APRIL 1990
VARIOUS ARTISTS - SOUNDTRACK
Terminal Cly Ricochet
Alternative Tentacle*
VARIOUS ARTISTS - COMPILATION
Oh God My Moms on Channel 101
Nardwuar
SPIRIT OF THE WEST
Save thk House
WEA/Stony Plain
COWBOY JUNKIES
Caution Hone*
BMG
BLOODSTAR
Bloodstar
Desert Engine
THE CHILLS
Submarine Bells
WEA/Slash
ATILLA THE STOCKBROKER
Tues July 4th-The Rivoli
Aural Tradition
THE CRAMPS
Slay Sick!
Capftol/Enlgma
EXCEL
The Joke's on You
A&M/Carollne
THE FALL
Extricate
PotyGram/Fontana
BEL CANTO
Birds of Passage
Capitol/ Nettwerk
ROLLINS BAND
Hard Volume
WEA/Rough Trade
CONSOLIDATED
Myth of Rock
Captiol/ Nettwerk
ROBYN HrrCHCOCK
Eye
Twin/Tone
ART BERGMANN
Sexual Roulette
MCA/Duke Street
MARTA SEBESTYEN WITH MUZSIKAS
Maria Sebestyen wtth Muzslkas
Hannibal
JUNGLE BROTHERS
Done by the Force of Nature
Eternal
SAVAGE REPUBLIC
Customs
Fundamental
FLAT DUO JETS
Flat Duo Jets
Dog Gone
SAFFIRE
The Uppity Blues Women
Allgator
SIGLOXX
Under a Purple Sky
Cargo/PIAS
JEAN BINTA BREEZE
LKJ
PRAIRIE OYSTER
Different Kind of Fke
BMG
PALE SAINTS
The Comforts of Madness
Por/Gram/4AD
THE SUNDAYS
Reading. Writing, and Arithmetic
WEA/Rough Trade
GAMMACIDE
Victims of Science
Wild Rags
VARIOUS ARTISTS - COMPILATION
Here Ain't the Sonlcs
PopHama/Estrus
VARIOUS ARTISTS - COMPILATION
Children of the Generator
Wireless
CUVE GREGSON & CHRISTINE COLLSTER A Change In the Weather
Rhino
THE WALKABOUTS
Rag & Bone
SubPop
DANIEL JOHNSON
1990
Shimmy-Disc
IGNITION
The Orafying Mystical of...
Dischord
DYS
Wotfpack
Taangl
VARIOUS ARTISTS - COMPILATION
This Is the New Beatl
PolyGram
PLANB
Greenhouse Effect
BMG
THEAQUANETTAS
Love wtth the Proper Stranger
Capitol/Nettwerk
POOPSHOVEL
Opus Lengthemus
Community 3
INNER ANGER
My Head Hurts
Chlkara
THE CREATURES
Boomerang
Geffen
FOOL KILLERS
Out of State Plates
ILA/Mad Rover
BLOODSISTER
Bloodsister
109
POSTER CHILDREN
Flower Power
Limited Potential
THE SILOS
TheStds
BMG
THE BEVIS FROND
Any Gas Faster
Reckless
DEATH OF SAMANTHA
Come all yee Faithless
Homestead
LUKA BLOOM
Riverside
WEA/Reprise
RORY MCLEOD
Footsteps and Heartbeats
Festival/Cooking Vinyl
CATERWAUL
Portent Hue
MCA/IRS
CHICKEN SCRATCH
Important People Lost their Pants
Community 3
DIGITAL UNDERGROUND
Sex Packets
Tommy Boy
BOO-YAA T.R.I.B.E.
New Funky Nation
lsland/4th BWay
BONGWATER
Too Much Sleep
Shimmy-Disc
THE FOUR BROTHERS
Makorokoto
Festival/Cooking Vinyl
SOULJAHS
Our Time Is Now
Shanachie
ELEVENTH DREAM DAY
Beet
WEA
SHORT GROOVES
APRIL 1990
FUGAZI
Song #1/Joe #1 7'
Dischord
QUEEN LATIFAH
Come Into my House IT
Tommy Boy
PANKOW
Ding Dong 12'
Cargo/Wax Trax!
URGE OVERKILL
Ticket to LA 7*
Touch and Go
101
Rock to the Beat/Move your Body 12'
PolyGram
KMFDM
Virus 12-
Cargo/Wax Traxl
THE SUBJECTS
Word of God 12'
2 World Productions
CRAMPS
Bikini Girls wtth Machine Guns 72*
Enigma
PUBLIC ENEMY
911 Is a Joke 12'
CBS/DefJam
LAVA HAY
Wont Matter 3-songCD
Nettwerk
MONOMEN
Rat Fink/Burning Bush T
Estrus
FASTBACKS
You cant be Happy/In the Summer 7*
No Threes
STUMPY JOE
Daydreams/Basfcefcase 7'
Estrus
3D PICNIC
EMs7'
Cargo
GAS HUFFER
Firebug/Jesus was my only Friend 7'
Black Label
BEATS INTERNATIONAL
'Dub be good to me' 12'
PolyGram
BOO-YAA T.R.I.B.E.
R.A.I.D. 12'
bland/4th B'way
CREAMING JESUS
MugEP
Jungle Music
YOUNG FRESH FELLOWS VS. SCRUFFY THE CAT 7*
Cruddy Record Dealer
FLEISCH
...MachtSuchtkj 7*
Far Out
D.O.D.
Warhol Machine 12'
Lime Skull
PD-2
Groove Is Movin' 12'
Jrod
HEADS UP
Funk Up 12'
Anthrax
VON MAGNET
Alma La/Muneco 12'
I.N.9/Danceteria
SILVER BULLET
20 Seconds to Comply 12'
Tarn Tarn
JOICE
Ifs a New Sensation 12'
Lombardoni Timbre Productions Presents:
CiTR Presents WEA
101.9 rn recording artists
'SUBMARINERS TOUR'
THE
THURSDAY
CHILLS mays
TOWN
PUMP
with guests,
from Chicago,
recording Eleventh Dream Day
• artists Doors: 8pm Showtime: 10:30pm
TICKETS: Zulu, Black Swan, Track, Highlife, Razzberry Records (95th &
Scott Rd), Reminiscing Records (across from The Bay at Surrey Place),
The Town Pump & all T«ar^_«-gB, outlets. Charge by phone: 280-4444.
m* ■■ Epic/CBS recording artists, from Los Angeles
tne rave - ups may?
with guests, Polygram recording artists _a^,?_^> ~ , ,,,^7 r
TOWN
PUMP
i guests, Polygram recording
Chickasaw Mudd Puppies
Doors: 7:00 pm Showtime: 9:00 pm
TICKETS: Zulu, Black Swan, Track, Highlife, Razzberry Records (95th &
Scott Rd.), Reminiscing Records (across from The Bay at Surrey Place),
The Town Pump & all _^^^______-jfr. outlets. Charge by phone: 280-4444.
SATURDAY
VockiVJO presents, A&M recording artists, from Scotland £1 Mk -*VB j j j_f__l __J*^
1 1 A %a • dAIUKUk
del Amitri **** ,9
Um/1 A ________ _L wJ_ TICKETS: Zulu, Black Swan,
**■ m ^^^ ^**^ ^mm <^***^** •*^»> ••^■■^^ ^^ ^^ ^** C™tt RH . Rominicrinn RorAr,
TOWN
PUMP
with guests Doors: 8pm Showtime: 10:30pm
TICKETS: Zulu, Black Swan, Track, Highlife, Razzberry Records (95th &
Scott Rd.), Reminiscing Records (across from The Bay at Surrey Place),
The Town Pump & all rre<«fA/-_»T».»_, outlets. Charge by phone: 280-4444.
CiTR presents, Wax Trax recording artists
MAY 21
TOWN
PUMP
Doors: 8pm Showtime: 10:30pm
TICKETS: Zulu, Black Swan, Track, Highlife, Razzberry Records (95th &
Scott Rd.), Reminiscing Records (across from The Bay at Surrey Place),
The Town Pump & all -ncj^J^^^rm^t, outlets. Charge by phone: 280-4444.
CO-OP '"■' & fi^S present, POLYGRAM recording artist
-__ y wur _______ & ^-*-9**£ present, polyuham recoraing anisi y'^ Uoors: 8 pm Showtime: y:3Upm
Michelle Shocked
TUESDAY MAY 22
COMMODORE!?
V 870 GRAIMV11LE MAIL • 681-7838**
Doors: 8pm Showtime: 9:30pm with guest
JOHN
WESLEY
HARDING
TICKETS: Zulu, Black Swan, Track, Highlife, Razzberry
Records, Reminiscing Records & all ______
Outlets. Charge by phone: 280-4444.
BMQ recording artists, from New York
THURSDAY
THESIiOS MAY 24
^^^ ^ ^^™ ^■■■^ ^■-•■■^ TICKETS: Zulu. Black Swan
TOWN
PUMP
Doors: 8:00 pm Showtimes: 10:30 pm
TICKETS: Zulu, Black Swan, Track, Highlife, Razzberry Records (95th &
Scott Rd.), Reminiscing Records (across from The Bay at Surrey Place),
The Town Pump & all ■ncK^r^awrm^u outlets. Charge by phone: 280-4444.
recording
artists
COWBOY JUNKIES
SUNDAY JUNE 10
With special guest
Townes
Van Zandt
QUEEN ELIZABETH THEATRE
Doors: 7:00 pm Showtimes: 8:00 pm
TICKETS: All j______^_e____V. outlets, or charge by phone: 280-4444 STOP. LOOK&
BRING IN THIS AD FOR A FREE SAMPLER CASSETTE. LIMITED QUANTITIES. NO STRINGS ATTACHED.
1
VAN
MORRISON
NEW ON VIDEO
16.94
VAN MORRISON
The Concert
90 minutes LIVE, filmed al the Beacon Theater in
New York, 30/11/89
Contains material spanning Morrison's 25 year career
Backed by Georgie Fame _ the Blue Flames and featuring
guest oppearonces by Mose Allison and John Lee Hooker
This is the video companion lo "THE BEST OF VAN MORRISON"
Album contoins 16 songs 18 on cassette - 20 on CD
Includes tracks from THEM ("Gloria" etc.) ond spans
his entire career
OUT NOW
LP/MC'S 6.94
SUE MEDLEY
Sue Medley
• The self-titled debut from Vancouver's own Sue Medley
• Features the hit single "Dangerous Times", "Blue Skies",
"Queen Of The Underground", "That's Life",
"Oh Atlanta" 8, more
• Produced by Mike Wanchic
• Features guest appearances by members of John Cougar
Mellencomp's, Von Morrison's & John Hiatl's bands
S 13.94
THE HOUSE OF LOVE
Tlie House Of Love
• The highly anticipated new LP featuring
*l Don'l Know Why I Love You" & the U.K. hits
"Shine On", "Never" ond "The Beatles & The Stones"
• "A marvel ... A success" (Melody Maker);
"A perfect 10 out of 10* (The Hard Report),
"Essential listening. Not lo be missed" (Billboard)
• Coming soon on tour
12.94
FINE YOUNG CANNIBALS
Live At The Paramount
One hour LIVE, filmed in Seattle, October 1989
Contains all the hits including "Johnny Come Home",
"Good Thing", "Tell Me Whot", "I'm Not Satisfied",
"Ever Fallen In Love", "Don't Look Back", "Suspicious
Minds", "I'm Not The Man I Used To Be", "She Drives Me
Crazy" & MORE
MICHELLE SHOCKED
The Captain Swing Revue
• Coming to the Commodore May 22 in concert
• 60 minutes LIVE, featuring tracks from all 3 albums
to date plus previously unreleased live favourites
• Includes "Anchorage", "When I Grow Up", "If Love Was A Train"
"(Don'l You Mess Around With) My Little Sister" and MORE
• See & heor Michelle Shocked backed by the 7 piece
Captain Swing Revue band
SINEAD O'CONNOR
The Value Of Ignorance
• Filmed LIVE al the Dominion Theatre, London, June 3/88
• One hour of captivating performances
• Includes "Mandinka", "Jerusalem", "Troy", "I Am Stretched
On Your Grave", "Just Like U Said It Would 8" & MORE
BOOTSAUCE
The Brown Album
• Catch the street buzz on this debut release
by Montreal's Bootsauce
• Includes the single "Scratching The Whole", "Every 1 's
A Winner", "Play Wilh Me", "Let's Eat Out" & more
• "Combines elements of Iggy Pop, Red Hot Chili Peppers
ond The The all rolled into one"
- Tom Harrison (The Province)
s
PETER MURPHY
Deep
• Features the hit single "Cuts You Up", "Marlene Dietrich's
Favourite Poem", "Crystal Wrists", "Seven Veils" & more
• The critically Declaimed breakthrough release by former
singer/lyricist of Bauhaus
• Coming soon in concert
• Also available on video: "Bouhaus Shadow Of Light"
*
/___>
QUEEN LATIFAH
All Hail The Queen
• The long-awaited debut release from the new Queen
of rap/hip hop/R&B and soul
• Includes the dancefloor smashes "Come Into My House'
"Ladies First" & more
• Features guest contributions from De Lo Soul, Prince
Paul, Stetsasonic's Daddy-0, KRS-One and others
• 3 bonus trocks on cassette & CD
• Check out the voice featured on Bowie's "Fame '90"
THE MISSION
Carved la Sand
• Coming to the Commodore May 7 in concert
• Contoins the hit "Deliverance", "Sea of Love", the
U.K. Top 20 smash 'Butterfly On A Wheel" & More
• A Top 10 seller in the U.K.
• Also available: "Crusade" the LIVE video
• Coming to the Commodore in concert May 7
wilh The Mission
• The critically acclaimed followup to their Top 20
U.K. debut The Eight Legged Groove Machine"
• Includes the British Top 20 hit "Don't Let Me
Down Gently", "Rodio Ass Kiss", "Cartoon
Boyfriend's MORE
• "A thinker, a grower, and a kick in the bollocks" (New
Musical Express); "one of the most brightly shining
talents in the heavens"(CMJ New Music Report) |
SALT-N-PEPA
• The brand new release by the duo that brought
you the rap smash "Push It"
• includes the dance floor smash "Expression" & more
COMING SOON
HOTHOUSE FLOWERS
JIMMY SOMERVILLE
BEATS INTERNATIONAL
YNGWIE MALMSTEEN
THEE HYPNOTICS
LE MYSTERE DES VOIX BUL6ARES
REBEL MC
TONY TONI TONE
GO-BETWEENS
Discorder
Discorder CITR-FM (Radio station : Vancouver, B.C.) May 1, 1990
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