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Discorder CITR-FM (Radio station : Vancouver, B.C.) Nov 1, 1985

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 iEJga
THAT MAGAZINE FROM CITR FM102 CABLE100
NOVEMBER 1985 • FREE
\ \ /St**-    ~*JU   ^   ft   .^W     '#.   C       '■'     ■-»     / v' V"i      .      '' ^_        ^ \
Spirit of the West
Joolz
and much more ,,   *   0  *  0  *    $   0    "1
ONLYTHEBRAVE
307 W CORDOVA VAN. Editor
Chris Dafoe
Contributors
Steve Edge, Michael Shea, Mike Johal,
Steve Robertson, Bill Mullan, Julia Steele,
Dave Watson, Andreas Kitzmann, Fiona
Couchman, Colin Stacey, Jason Grant,
Neal Roese, Don Chow, Steve Quinn
Photos
Reece Rehm, Ross Cameron, Very S.
Pilfered - Sources
Cartoons
R. Filbrant, Susan Catherine,
Chris Pearson, William Thompson
Cover
Mark Mushet
Production Manager
Pat Carroll
Design
Harry Hertscheg
Layout
Pat Carroll, Randy Itvata, Bev Best, Karen
Shea, Toby Thiersch, CD, Chris Brandson,
Dale Saivyer
Program Guide
HH, CD., PC, J. Mc.
Typesetting
Dena Corby, Kathie Wraight
Business Manager
Mike Dennis
Advertising and Circulation
Harry Hertscheg
DISCORDER, c/o CITR Radio, 6138 SUB Blvd.,
Vancouver, B.C., V6T 2A5. Phone (604) 228-3017.
DISCORDER Magazine is published monthly by the
Student Radio Society of the University of British Columbia (CITR-UBC Radio).
CITR fml01.9 cablelOO.l broadcasts a 49-watt signal in
stereo throughout Vancouver from Gage Towers on the
UBC campus. CITR is also available via FM cable in
Vancouver, West Vancouver, North Vancouver, Burnaby,
Richmond, Coquitlam, Port Coquitlam, Port Moody,
Maple Ridge and Mission.
DISCORDER circulates 15,000 free copies. For advertising and circulation inquiries call 228-3017 and ask for
Harry Hertscheg or Nancy Smith.
Twelve-month subscriptions available: $10 in Canada, $10
U.S. in the U.S.A., $15 overseas. Send cheque or money
order payable to CITR Publications.
Unsolicited manuscripts, photographs, cartoons and
graphics are welcome but they can be returned only if
accompanied by a self-addressed, stamped envelope.
DISCORDER does not assume responsibility for unsolicited material.
The offices of CITR and DISCORDER are located in
room 233 of the UBC's Student Union Building. For
general business inquiries or to book the CITR Mobile
Sound System call 228-3017 and ask for station manager
Nancy Smith. The Music Request line is 228-CITR.
DiScORDER
THAT MAGAZINE FROM CITR FM102 CABLE100
IN THIS ISSUE
8 Shindig
Another month at Vancouver's favorite
music showcase is previewed.
12 Joolz
In her own words. With commentary from
Michael Shea.
14 Spirit of the West
Bringing a touch of Celtic to Vancouver
music. By Steve Edge.
IN EVERY ISSUE
4   Airhead
We find a Puppy in the mailbag, and letters from around
the civilized world.
6   Behind the Dial
Radio by numbers, and letters, and shapes, and....
18   Program Guide
A guidebook to the splendor and majesty of CITR.
20   Spinlist
A chart. What does it mean? You figure it out.
22  Vinyl Verdict
Black plastic from Grapes of Wrath, Kevin Zed, Red
Herring and more...
26   Demo Derby
Julia promises not to be nasty.
28   Armchair Eye
Video from Frankie, Monty, Bauhaus, and Chrome.
30   Roving Ear
On the Road Again. Go Four 3's Canadian Saga. In the September issue of the
Discorder we received a letter from
Jen Read, inquiring about radio in
France. We suggested that she take
CITR with her, with the CITR Mobile
Sound System.
This is her reply.
Dear Airhead,
Thank you for your advice, but
I don't actually have $235 a night
to spend. Well, I got here—and I
really miss CITR—what's life without the Saturday Pajama Party and
Final Vinyl? The music stations are
really bad. I can't get any alternative stations because I'm too far
from Bordeaux. And records are
expensive. My advice to you—stay
with CITR.
That's all for now from France.
Yours,
Jen Read
Puppy Bites
Dear Airhead:
I would like to thank you for the
enlightening review of Skinny Puppy's Bites LP. It certainly opened
my eyes. You see, being of the Joi-
gelling and Juicy Fruit set I was
totally ignorant of the Legendary
Pink Dots, Portion Control, etc.
I am now going out to purchase
Severed Heads, etc., after I remove
the Joi-gel and Juicy Fruit from my
hair.
No name
Dear Airhead:
I can't believe it. The record
review of Skinny Puppy's Bites LP
was a joke, wasn't it? Vancouver's
only industrial band with taste and
style gets slagged like that. The
review sounded more like a jealous
grudge-put down than an honest
record review. I think it's embarass-
ing for you to have a writer like
Mark Mushead on your staff. If the
Discorder and CITR are alternatives then Mushead is an alternative for stupidity. I can't believe
I'm even wasting time writing this
letter to justify the complete stupidity of that childish review.
Mr. Alternative
Dear Airhead:
You guys always seem interested
in what your listeners (both of
them!) think of you, so I'll take this
opportunity to tell you, you bunch
of nosy buggers.
Things I like about CITR/D/scor-
der:
—CITR has an HM program that
plays Real Metal
—CITR plays no "Fairweather" or
"Big Steel" ads
—Discorder occasionally runs an
exceptional story like "Vancouver's
Rock Critics" in the Sept. '85 issue
—CITR has a good hard-core program
—CITR plays demo tapes, no matter how dismal they sound.
Things I dislike about CITR/D/s-
corder:
—CITR's listeners can be accused
of ignorance of the same type that
they accuse CFOX listeners of.
Just take a look at poor Monique's
letter in the Sept. '85 Discorder.
Have you listened to CFOX lately,
Monique? Do you really think
hordes of salivating headbangers
eagerly tune in "The Fox" to thrash
along with Howard Jones or The
Thompson Twins?
—Writers in Discorder tend to use
the word "wanking" and other
masturbatory connotations when
mentioning things like prog. rock.
"Wanking" is the ultimate alternative radio cliche. If one doesn't
understand something, it's all too
easy to say "oh, it's only wanking".
O.K.?
There, I'm done. Good luck with
your High Power application.
Progressively Yours,
Rob Hughes
P.S. I'd like to express my admiration for Mark Mushet and his
8RH8A&
MawnnaBstm
c/o CITR Radio
6138 S.U.8. Blvd.
Vancouver, B.C.
V8T2A5
Skinny Puppy L.P. review. Writing
and publishing such a thing in Discorder takes real balls.
Dear Airhead:
We meek sheep are indeed fortunate that Mark Mushet has deigned to illuminate us with his penetrating insight into Skinny Puppy.
With dazzling virtuosity, this beacon of truth has exposed the unclean scavengers and their carrion.
His is the guiding light that protects
us from vampires poised to prey on
our innocent ignorance.
No matter that neither God nor
the Devil himself know what lurks
in the heart of man, Mushet does.
And his vitriol stands guard over
artistic integrity and virtue. We are
comforted in the knowledge that
the Inquisitor will turn his acid
righteousness on the impure
among us and burn the whores
from the face of the earth.
M. Davies
Slander?
Dear Airhead:
A letter to Mark Mushet:
After reading your questionable
article of slander against the Skinny Puppy "Bites" album, I am compelled to set a few things straight.
I will only concentrate on the allusive assumptions you have regarding the album graphics because I
am sure you will receive enough
letters of rebuttal concerning your
hypercritical review of Skinny Puppy's music.
"Now on to the cover graphics,"
indeed. I think it would be very difficult for me to "glean", "rob" or
"plagiarize" something that had
not existed at the time the Skinny
Puppy cover was completed. I am
referring to your "obvious refer
ence" to the new Benjamin Lew/
Steven Brown album. I finished the
Skinny Puppy design two months
before that album was released
and the photographs were taken
another two years prior to that. As
for your other "obvious reference
point", the 23 Skidoo "Seven
Songs" mini L.P, I think you
should have another look at the
cover because as far as I can see
(or anyone else for that matter)
there is no similarity.
In the future I hope Discorder
has the common sense to print
reviews of a critic that at least
researches the subject that is
being reviewed, not pretentious
accusations.
Steven R. Gilmore.
Mark Mushet replies:
Steven, please take the time to
reread the review. I did. My rereading has made two things clear.
1) That I did tar you with the
same brush as Skinny Puppy early
in the review with the word "robbery" Perhaps that was a bit excessive.
2) That in part of the review dealing specifically with your graphics
I did not accuse you of plagarizing
the Brown/Lew cover. In fact I noted
the difference in release dates. I
simply pointed out the obvious influence of this school of design on
your work and noted that in this
case the influence cut a little too
close to the source for my comfort.
Neville Brody's 23 Skidoo cover, like
the Lew/Brown cover, was used as
a reference point within this school,
not as a specific source for your
Skinny Puppy cover.
Picks/Pans
Dear Airhead:
Concerning Dave Watson's personal appraisal of Vancouver's
rock critics in September's Discorder: "I know you are, but what
am I?"
Sincerely,
Pee Wee Newton
P.S. Here's a penny for your
thoughts, Dave. Sorry I don't have
anything smaller.
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IN DECEMBER DISCORDER
SUBJECT TO CHANGE WITHOUT NOTICE I DISCORDER
November 1985
CITR High Power Project—Plan B.
Mail Bag
DEAR CITR LISTENER: Write now! (Yes, right
now!) and write often. CITR is once again urging you to take pen in hand to register your support for CITR's drive for increased power. Yes,
I know we asked before. Yes, I know we said the
final deadline was se isagg
ember, dear listener, that we are dea
bureaucracy here, and out of then
bureaucracy emerges i
tion. CITR is curren' \ pxplflng th
reaches of Canadian communications bureaucracy and any support you can give will increase
our chances of success.
Your letters should include the reasons you
think CITR should receive an increase in power,
the reasons you listen to CITR, as well as the
details of any problems you might have had in
picking up the station. The letters should be
directed to the CTRC, but should be sent directly to CITR. And the address of CITR? We though
you'd never ask.
CITR
6138 SUB Blvd., UBC
Vancouver, B.C.
V6T 2A5
Music Dept. News
GREETINGS from the new and much sillier
CITR music department. Don Chow, the old
codger, retains his position as MD (with seniority, no less). Joining him in the quest for newer
and cooler sounds is Jason Grant (a guy with
a chip on his shoulder), that's me. I have the
unenviable task of following in Michael Shea's
moccasins. Michael has left the Music Depart
ment in order to pursue other interests, and his
experience will be sorely missed at CITR.
Things move on, though, and Don and I have
plenty of projects underway to benefit you, the
listeners. We're undertaking a massive mailout
to independent record labels in the U.S., England
and Europe this month, in an effort to have gobs
and gobs of free records sent our way. This will
enable us to spend more money on obscure bits
of vinyl and albums that we missed out on when
they were first released. If you have any suggestions as to labels we should be corresponding
with, write us care of the station, and include all
pertinent information about the record label.
Also, thanks tc ho read last month's
piece on getting vol fc it with
a grain c makes
a DJ's job a ^^Sjjfr'wpn I
with a modicur If you want to find
out more about the Music Department, or CITR
as a whole, call us at 228-3017 and ask for myself
or Don, or visit us on the second floor of the Student Union Building during office hours. We're
not as scary as we look.
Community Access
CITR OFFERS FREE ACCESS to the airwaves
to non-profit community groups who are interested in making their concerns known to a wider
group of people. We will provide training, production time, airtime; you provide the concerns, the
enthusiasm, and the knowledge. If this sounds
like a fair deal to you (we think it sounds pretty
equitable), contact Nancy Smith or Peter Cour-
temanche at 228- 3017 between 9 a.m. and 5
p.m. Monday to Friday.
Hi-Lites
Women JL^j
1995
Men
Basic Cut
still£T95
3621 W. 4th Ave.   733-3831 CITR fm 102 cab e 100
Join Now
EVER LISTENED TO THE RADIO and said,
"I can do that?" Ever read the rag you hold in
your hand and said, "I'd like to do that?" Ever
been to sea, Billy? If you can answer yes to any
two of these three questions, you may be able
to lead a happier life with CITR. CITR is run by
volunteers, people who came here with precious
little more knowledge than you possess now and
who, through determination, diligence (and a
well-placed bribe or two) became involved with
news, public affairs, music, promotions, production, engineering, Discorder, or one of the other
aspects of the broad CITR empire.
If you've been thinking about joining CITR,
now is the time. CITR is having a general meeting November 7 and we are welcoming new
members. The meeting will be held in the Party
Room of the Student Union Building at UBC. Student memberships are $15, non-student memberships $25.
We'll hold a seat for you.
CITR Concerts
ON SATURDAY NOVEMBER 16, it's an evening of Heavy Caribbean Rhythms at the Commodore. Featured are four of Vancouver's best
reggae bands: Peter Sandy and the Originals,
Fire Temple, Soul Survivors, and Mango Dub.
On Monday, November 18, CITR is proud,
actually delighted, really we're positively overwhelmed (we mean it) to present the Vancouver
debut of Shriekback. Formed in 1982 by Barry
Andrews (ex-XTC, League of Gentlemen), Dave
Allen (ex-Gang of Four) and Carl Marsh, the
band's records have been consistent charttop-
pers at CITR (back in the days when we still had
charts).
Vancouver Institute
SINCE 1915 the Vancouver Institute has been
bringing prominent figures in the sciences and
the humanities to UBC to speak to the public.
Now CITR brings the Vancouver Institute into
your living room. Every Friday morning at 7:30
starting on November 15, we will broadcast lectures from the Institute's series. Speakers in
November include Dr. Michael Gotlieb of UCLA
speaking on AIDS: Medical Science in Action,
Professor C.S. Holling of UBC speaking on Ecosystem Design: Local Surprise and Global
Change, and SFU President William Saywell,
who will discuss Relevance and Our Universities: Responsibility or Red Herring?
Future speakers at the Institute's Saturday
night lectures include Canadian author and critic
Margaret Atwood, and Nobel laureate William
Golding.
FORWARD   FASHION!
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f\ poRsme we mine somepAYf DISCORDER
November 1985
eww«
Hmmmm...yeah Shindig. October was a
good month. Line Driver, the first country-
and-western band to enter Shindig made
it to the semi-finals, and the Little Ratskulls, who
look upon music with a decidedly different slant
became the first finalists. Large crowds have .
been gathering more consistently each Monday •'•';
night at the Savoy as Shindig moves closer to •'
the finals. Here's a list of upcoming bands in the.'•.'•.
competition—who to watch for, and what to v.
expect.
Monday, Nov. 4
Tree of Plenty
Steve Mitchel (vocals), Dave Genn (bass), Tally
Beck (guitar), Cory Tabor (drums), Tom Pasemki
(percussion)
HAVING PLAYED TOGETHER since July, Tree '.
of Plenty have been working on a sound describ- ;
ed as "Black Soul and African Rhythms with an--
American Pop guitar." The concept for the band
apparently arose from the desire to be the ideal
backing band for a Kate Bush concert at the Coliseum. When Bush did not appear, the Tree
moved on to other things, and have recently
released the demo single "Raincoat" to CITR.
Safe to Assume
Ewan Dean (bass, drums, guitar), Shaun Ross
(bass, drums), Ian Melhado (guitar)
A GROUP OF POCO popsters, Safe to
Assume boasts a stable lineup: all the members
have been friends since elementary school.
Stating such influences as Simple Minds, U2 and
the Grapes of Wrath, the band hopes to turn this
first project into a "working hobby."
Wing Nuts
Wing (guitar, humazoo), Nut (guitar, bass, cooking pots)
WING AND NUT first met in Nova Scotia in
1977, then moved to Victoria where they played
the streets in order to survive and develop their
"Wing Nut Sound." Suffering from personal difficulties and identity crisises, both Wing and Nut
went to sea for a two-year sabbatical before returning to the streets, where they continued to
develop "the sound." Drawing strongly from the
works of the legendary bluesman Sam "Smiling
Pig" Pickett and Joe "Boxy" Elroy, the Wing Nuts
now find themselves in Vancouver in search of
public recognition, a recording contract, and
possible surnames.
Nov. 11,
2nd Semifinals
FEATURED ARE:
Terry Lynn and Ryan and Line Driver, as well
as the winners of the October 28 and November
4 Shindigs. Also featured is a special guest appearance by Tippy Agogo and the Add-Liberation
Front. Tippy isn't mad anymore—he's now a family man, a cartoon character come to life. Having backed up such varied acts as S.N.F.U., K.D.
Lang and Junior Gone Wild, Tippy is distinguished as being Vancouver's only "multi-cultural,
one-man go-go dancing percussionist." Don't
miss this one.
Nov. 18, Round #3
Legion of Doom
Gamer Stone (guitar, vocals), Don Isaac (guitar),
Ken Purden (drums), Darren Dube (bass)
THIS IS THE SECOND generation of Legion
of Doom. Occasionally known as Dead Bob, the
band looks up to the Ramones, U.K. Subs, and
Stiff Little Fingers for guidance in troubled times.
Garner is unsure of the origin of the band's
name. "It's the opposite of the comic book
cont. p. 11 FRED CURCHACK
Stuff as Dreams are Made On
An enchanting interpretation of Shakespeare's The
Tempest' by  a  one-man
theatrical miracle!
OCT 31  - NOV 9
8PM
Preview October 30
Tamahnous Theatre presents:
TRIAL
by Sally Clark
A feminist adaptation of Kafka's novel starring
BARBARA E. RUSSELL. This one-woman
show explores the contemporary issues of
political harassment and imprisonment as it
boldly steps into the vast and breathless
frontier of terror. Reserve now — limited run!
November 15 - 30 • 8:30PM
Previews November 13 & 14
The ViCC & VFMF present
aka Roy Forbes
Dazzling
singer/songwriter and
guitarist! BIM mixes R&B
with rock n' roll, ballads
and blues. "Special
spirit onstage...
stands in a class by
himself..." Edmonton
Journal.
DECEMBER  4  -  7
8PM
CoiTlina    Tom Graff's" Vancouver
w wi ■ ■■■ i*p    Ca||s Me„ w||h Connie Ka|dor
UPS    Opens New Year's Eve!
254-9578
November
1/2 BRILLIANT ORANGE with guests
8/9 THE YO-DELLS
15/16 RED HERRING
22/23 THE DILETTANTES with guests
29/30 SLOW with THE BELGIANIQUES, TIMES FOUR
LIVE MUSIC IN THE LOUNGE I
FRIDAYS FROM 10:30 - SATURDAYS FROM 11:30 P.M.    \
ARTS CLUB THEATRE   1181 SEYMOUR  683-0151
AN EVENING OF
"HEAVY CARIBBEAN RHYTHMS"
FEATURING FOUR OF VANCOUVERS
BEST REGGAE BANDS
SOUL SURVIVORS
SATURDAY • NOVEMBER 16
8:30 P.M.
COMMODORE BALLROOM
TICKETS AVAILABLE: VTC/CBO OUTLETS • INFO CENTRES IN MAJOR MALLS • MX
LOWER MAINLAND EATONS AND WOODWARDS • CHARGE BY PHONE 280-4444 •
ZULU RECORDS, HtGHUFE RECORDS, MOO-CARIBBEAN SPICE MART CATM_
PRODUCTIONS
ODYSSEY IMPORTS & SOUNDPROOF
present
LOVE AND ROCKETS
featuring
DANIEL ASH / DAVID J. / KEVIN HASKINS
COMMODORE BALLROOM
THURSDAY NOVEMBER 12 1985
TICKETS $14.00 ADVANCE: VTC/CBO, EATONS, WOODWARDS, AMS TICKET CENTERS, ODYSSEY,
ZULU, COLLECTORS RPM, REVOLUTIONS RECORDS, CHARGE BY PHONE 280-4444.
ODYSSEY IMPORTS
present the premier Vancouver appearance of
with guests
THE FASTBACKS
DOWN SYNDROME
and
THE WHITE WALLY
ABUSE BAND
WEDNESDAY
NOVEMBER 27 1985
7 PM SHARP
NEW YORK THEATER
639 COMMERCIAL DRIVE
ALL AGES WELCOME
TICKETS: $10.50 ADVANCE AT VTC/CBO AND ALL USUAL LOCATIONS.
$12.00 AT THE DOOR
Penyscope Concert Line Up
with guests
ORCHESTRAL
MANOEUVRES IN THE DARK
November 14 • 7:30 p.m.
Pacific Coliseum
CITR & SOUNDPROOF
present
shriekback
With Guests
54-40
November 18 • 8:30
Commodore Ballroom
4
Tickets: Odyssey. Zulu. VTC/CBO
& all usual outlets.
Info and charge by phone 280-4444.
Service charge extra
J CITR fm 102 cable 100
'Justice League of America,' but it's also an
American tag-team wrestling duo." No Canadian
influences here.
Indigo Voice
Dave Smith (guitar), Scott Fletcher (bass, vocals),
Chuck Boname (guitar), Rod Van Dyke (drums)
" 'INDIGO VOICE' DESCRIBES our 'blues
voice' sound," says Dave. Originally The Trend,
Indigo Voice has been around for about four
years and sees '60's cover bands as well as the
Psychedelic Furs, The Cure, and U2 as musical
influences.
Live Bait
Donald Johnstone (vocals), Gary Sullivan
(guitar), Mick Joy (guitar), Frank Crusetti (bass),
Mallory (drums)
DONALD AND GARY ARE the founding members of Live Bait, which has been together since
April. Into "Heavy Rubber" (take that as you
will—I think it means straight-ahead R&R), Donald cites the Kinks, Stones, Iggy Pop, Lou Reed,
and Johnny Cash as well as drunkeness and film
encyclopedias as influences. Live Bait will be
releasing a demo to CITR by December, and
hope to complete a video this winter.
Nov. 25
The Original Cast
Stefan Sigerson (bass,) Graham Allen (vocals),
Keith Howe (guitar), Paul Brennan (drums)
FORMERLY A NAMELESS instrumental
group, the Original Cast have added a vocalist
to their five-month-old project. When questioned
about their ambitions, Stefan states, "We would
like to make a living eventually with an emphasis
on originality and creativity, without compromising our musical integrity...except, of course, for
money." The Original Cast claims to have been
influenced by everyone, "except for Sade,
Doucette, John Parr, David Foster, or Bobby
Goldsboro..."
The Undecided Pink
Torpedoes
Erik Von Heatwave (guitar, vocals, hallucinations)
Jay O'Keefe (bass, fatherly advice), Erik Smith
(drums)
"IN THE BEGINNING, there was the Reptile,
and like the Phoenix rising from the flames, the
lizard crawled from the depths of his own personal Hell, guitar in hand." So begins the latest
chapter in the legendary saga of Erik Von Heatwave, former Reptile and member of virtually
every other garage rock band in Vancouver at
one time or anothr. The Undecided Pink Torpedoes (another name problem) hope to take up
where the Reptiles left off...or else to totally abandon their chequered past in search of a new
direction. Look forward to a great show.
To Be Announced
WHAT A CATCHY name. But hold on...actually,
there are four positions remaining in Shindig for
'85. Due primarlily to stiff competition from bands
and to personal laziness, I have not yet filled
these positions. Any bands still interested in
entering Shindig may do so by contacting CITR
and submitting a demo tape no later than November 11. Final selection will be made at this
time.
—Jay Scott
IN CONCERT
NOV. 18th
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687-5837 3215112 254-1601 Text: Michael Shea
Interview: Mike Johal
IN THESE PRESENT days of the image-
conscious communication of processed
information, poetry and poets have all too
often been relegated to the realm of academia,
occasionally published in tastefully-bound limited
edition paperbacks, and usually presented in
obscure art houses that never attract anyone
beyond the converted. Many moderns consider
poetry to be a charmingly quaint yet redundant
exercise in masturabory technique that is mired
by clever word-play and rampant emotionalism.
In many instances, their smug perception is
justified. Try to convince any young person that
the power of language has not lost its effectiveness, especially in the poetic form, in this age
of the TV eye, the vidiot, pulp novels and titillating
tabloids. Even in music, the accompanying words
are more often than not fodder to flesh out the
mix. Poetry, to a young person, is either of the
rhyming sort or an incomprehensible mesh of
words.
That is, until Joolz came to town.
Joolz is a 30-year-old English poet who does
not engage in clever word-play or rampant emotionalism. She is a hard-working, straightforward
woman who has a penchant for telling the truth,
no matter how bitter that might be. In the past
two years she has released two EPs in collaboration with the musician Jah Wobble (War of Attrition and The Kiss), an album of her spoken word
material (Never Never Land), and has toured
extensively throughout Great Britain and in the
Netherlands and Scandinavia. Joolz has garnered an abundance of media attention and a
legion of fans attracted by her provocative and
succinct stance on a number of topical issues
that currently affect the English social fabric. Last
month, Joolz made her North American debut
in Vancouver and during her stay had an opportunity to speak with Mike Johal on Propaganda!
The following are excerpts from that interview. Goals
...I do what I do because I am driven to it. Because it's what
I do best. If I'm an artist, which I suppose I am...yes, I know what
I do, I know what I am. You either have a talent for something
or you don't. I might have by chance turned out to be the world's
best cook. But anybody who's eaten my food will know that's not
true. You are driven to do what the spirit, or God, or whatever,
gave you when you were born.
Truth
...you have to give people the truth, all of it. Not just pick out
a little bit here and there and say, well I want to use this. You've
got to show people what life is because the truth is the only thing
worth talking about, and if the truth is uncomfortable, and if
holding up a mirror to people is uncomfortable, that's tough.
Compassion
...people have often accused me of not being very compassionate, and I think you should look closer at what I do. It wouldn't
do me any good to stand on that stage and say I feel so sorry
for everybody. That's not going to do anything. That's not empathy
that's self-indulgence. Yet, if I didn't have compassion for things
like that then there is no way I would write it. I hate wimpy self-
indulgence that says, "Look at me, I'm suffering for humanity."
What good does that do? It does nothing. You've got to look at
people logically and see the logical progressions in their lives.
People's lives are like a web. Some of them you can plot after
the age of sixteen. You can plot exactly what's happening to them.
And they hurt me, these people. But what good would it be for
me to stand on stage and say, "Look, I've been hurt." Yes, it hurts
me to see that their lives have been wasted...it hurts me to see
they've been manipulated...that they're stupid...that they've done
stupid things and they have stupid marriages and beat their
children. That does no good. That is just saying what a sensitive
person I am. We're all hurt by these things. I just have to write
it in a logical way.
Answers
...the solutions are for you to find...all I can do is hold up a
mirror for you. I mean, all I can do is write the truth and you can
work out what you should do about it. I can't go around to every
single person in the audience and say, right, now you're from
Coventry, right, in Coventry you should set up A) a self-help
group for mothers who haven't got anywhere to put their children,
and B) you should do this, this, and this, and C) why not try
delivering leaflets for the Labour Party, that would be a help. But
what you have to do is put people in the frame of mind where
they might think they can do that themselves.
Audience
...I have this weird mixture of people. Very often I play on the
rock circuit so you get the kind of rock audiences obviously, but
I play a lot of other places too, and you get curious mixtures of
Exploited-type punk rockers with their Watty hair-styles and clunking with chains, trying not to go near magnets. And grandmas
and granddads and bearded intellectuals and their bearded wives
and, you know, you get a total mix sometimes. You can see the
audience, and you look at these people and think, that person
there would never sit next to that punk rocker under any other
circumstances. They'd go across the street to avoid them, yet
there they are at a gig happily sitting next to each other laughing
and crying at the same time.
Feminists
...they hate me. I wear dresses and funny make-up, and I like
men. If they were reasonable people they would look and see
that in feminist terms my life is absolute textbook for them (left
the marriage to become creative person, blah, blah, blah...), but
they never see beyond what you look like...people are people,
it doesn't matter what sex they are.
Racists
...people are racist because they feel that they are inferior
themselves, so they look for somebody that they consider to be
their inferior to take it out on. That's all it is. If they go and beat
up somebody, they do that because they want to have power over
somebody in the same way they'll talk to a dog or cat.
Other Poets
...Cooper-Clarke was the first one to do it. He was a great talent.
I think it's a real shame he's a junkie. He's killing himself. He
hasn't written anything and to see that talent go to waste...he's
a lovely person, and he's always been very kind to me and he
didn't need to be. As for Attila (the Stockbroker) and Swells
(Seething Wells)...well I think Attila and Swells, they used poetry
as a quick way to get on the stage. I think they'd rather be in
bands. Attila would much rather be in the Newtown Neurotics
than on his own. They had this enormous boom when they
started three years ago and they wrote tons and tons of stuff and
due to the nature of the game, you know you work a lot, you're
on the road a lot, they just didn't write anything else. So, in a
way, it's a shame, they've stagnated in a way. They don't penetrate...they live out their own myths. Swells and Attila are Tetley
Bittermen of the worse kind. They're up there on stage ranting
on about how awful Tetley Bitterman, how awful these drunken
beer belly rednecks are, while standing over a beer belly downing endless pints of beer. They just are what they're talking about.
They don't see it.
And Billy Bragg
He's much taller than you think he is, in real life. He's going
to have a terrible problem if the Labour Party gets into power.
He won't have anything to sing about. But he's a good songwriter.
There will always be a place in the world for a good songwriter.
Joolz is not so much a poet as she is a storyteller. Her vignettes of English working and middle-class life are drawn
from personal experiences, sometimes laced with a caustic
wit that occasionally verges on vindictive sarcasm. Her most
endearing talent, though, is the ability to give people the opportunity to laugh at themselves, and to feel good about it. Unfortunately, some of her material is not so much uncomfortable in
its truthfulness as it is tiresome in its didactical approach. This
becomes apparent in Joolz' live presentation.
Joolz performed on two successive evenings at the Gangland
Studio, and due to overwhelming demand, on a third evening
at the Western Front, which also acted as the sponsor of her visit
to Vancouver. She attracted nearly 600 people over the three
performances, partly owing to the unprecedented media attention given to a visiting artist of her stature..
Joolz commands an audience by her physical presence and
dramatic fervor, though her uncompromising stance leaves little
opportunity for a spontaneity that could lead to brilliance. Instead,
she stays close to home dealing with a social currency that
sometimes has little worth to a 'foreign' audience. Obviously,
Joolz is a keenly observant individual and for future consideration it might be worth her while to do a little research on her
touring locales a la Billy Bragg. By doing so, performer and
spectator might find the whole exercise a more inspiring cultural
exchange. In the meantime, Joolz is occupied with elevating her
cult status to a wider appeal by recently signing to EMI Records
in England. An album of new material recorded with the music
group New Model Army is due this winter and local audiences
can expect to see her again, in the 1986 Vancouver Folk Festival
next July. Hopefully, Joolz will also succeed in remaining a slave
to the truth, and a perpetrator of the power of language. DISCORDER
November 1985
Spirit of the West
A FRIEND OF MINE RECENTLY
mentioned Spirit of the West to
a woman involved in the Winnipeg Folk Music Festival. Yes,
she had heard of them. Yes, the Folk
Festival was bringing them to town with K.D.
Lang. "But," she sniffed, "they're not folk
music. They're just a rock and roll band who
play acoustic guitars so they can play folk
festivals."
For a music that has sprung from the
hopes, desires and'frustrations of ordinary
people, folk music has certainly become
bureaucratized and safe. Within.the North
American festival circuit at least, folk music
has its own star system, its own arbiters of
"authenticity" and acceptability, and its own
inflexible, sometimes stuffy standards. It
has found its audience and it is comfor
table. Which is why it is refreshing to see
bands like The Pogues and The Men They
Couldn't Hang bringing new fire and sensibilities to folk music in England. And why
it is encouraging to see North Vancouver's
Spirit of the West doing the same in our little corner of the world.
I first saw Spirit of the West at the Railway
Club last May. It had been some time since
I had heard such music here, and I was impressed by the band's enthusiasm and feel
for the traditions and the possibilities of
Celtic folk. The set featured originals, mixed
with traditional numbers and covers of
songs by the likes of Richard Thompson
and T-Bone Burnett, and was well-received
by the distinctly non-folkie clientele of the
Railway. In fact I was so impressed that I
nipped out the next week and bought their
debut album and featured it on the Folk
Show.
So what's a band from North Vancouver
doing playing Celtic folk music?
"When I was young I lived in Scotland,"
replies Geoff Kelley, who plays flute, tin
whistle, bodhran (a Celtic hand drum) and
bass with the band, "but when I emigrated
I forgot all about it, apart from listening to
my dad play the accordian. Then in 1979
I met Dougie MacLean, a Scottish singer/
songwriter, at a folk club in Austria. Hearing him sort of brought back my Scottish
roots and inspired me to learn to play."
J. Knutson, who plays guitar, bazuki,
bass and spoons with the band, also discovered folk music overseas. He'd been
playing in various rock bands before discovering a love for folk while in Europe. Upon
returning to Vancouver he studied broadcast journalism for a few years before head- ing to Australia armed with an acoustic and
an electric guitar. Australia brought a stint
with a band called the Acrylic Chewies.
"We sounded similar to Mental as Anything, but I was writing folk music, basically because I had an an acoustic guitar.
When I got back to Vancouver I contacted
Geoff, whom I'd known from school. I'd
heard him play and I was interested in the
kind of energetic feel of Celtic music. We
started out just learning a couple of tunes,
but the more I got to know about the music,
the more I got to like it."
Things went so well for the duo that they
were able to arrange for a gig at Whistler.
Before this transpired, however, they met
John Mann, who now plays guitar and
moose bones (yes, moose bones) with the
band, at Geoff's wedding. Mann had been
acting at Sutdio 58, but he also sang and
played guitar, Canadian folksinger Stan
Rogers being a particular favourite.
The band started off as Evesdropper, a
name dispensed with when it came out as
Eve's Droppings on the sign one too many
times. The current name came about after
the band had recorded their debut album.
"The album was a real collective effort,"
says Geoff. "Barney Bentall let us use his
studio, Ron Obvious did the production,
and Dougie MacLean, who came to stay
with me en route to play in Seattle with
Touchstone, played fiddle on a couple of
tracks. Dougie suggested that we call ourselves Marine Drive and call the album
CITR fm 102 cable 100
Spirit of the West. It didn't quite work out
that way."
The band pressed 1100 copies of the
album, which was released in January of
'85. The record has sold solidly since.
If there has been a major roadblock facing Spirit of the West it is on the folk festival
circuit. They were rejected by the Vancouver Folk Festival but managed to make
appearances at festivals in  Courtenay,
"We Sounded
Similar to Mental
as Anything"
Seattle and Edmonton. Knutson sees Edmonton festival organizer Don Whalen's
willingness to take a chance on them as an
encouraging sign.
"Hopefully the good reception we got in
Edmonton will make other festivals a little
more open to us next year. Folk festivals are
basically non-profit organizations, so they
need to draw enough big names to break
even. Folk is going through a transition right
now, where there are lots of new acts, but
a lot of the festivals that are losing money
are relying on old name acts. They're just
not very ambitious. It's fortunate, especially for us, that people like Don Whalen are
willing to take chances. Folk festivals have
to pick up on the newer folk music to attract
younger people."
The band has also been working on their
music as a way of setting themselves apart
from the more traditional folk acts.
"When we first started playing we made
the mistake of leaning too heavily on the
Celtic side of our music," explains Kelly.
"Later we realized that there was no way
we could compare with people like the Boys
of the Lough or Stockton's Wing. Besides,
we're from B.C., so we've started writing
more songs and emphasizing the West
Coast aspect of our music. We're still using
Celtic music as a base, but we're writing
about where we live now."
"Which is why we really want to play the
Vancouver Folk Festival next year," adds
Knutson. "We have already been invited to
Edmonton, Canmore, Dawson Creek and
Seattle. And we hope to be invited to Winnipeg, to play the festival there."
I hope they make it. Folk music needs an
injection of fresh, new blood and Spirit of
the West are talented, committed, and enthusiastic enough to fill the bill. How much
longer must Bryan Adams remain North
Vancouver's most famous musical export?
—Steve Edge
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November 1985
PROGRAM
WEEKDAY REGULARS
7:30 am   Sign-On
8:00am   WAKEUP REPORT
News, sports and weather.
10:00 am BREAKFAST REPORT
News, sports md weather followed
by GENERIC REVIEW and INSIGHT.
1:00 pm   LUNCH REPORT
News, sports and weather.
4:30pm   AFTERNOON SPORTS8REAK
6:00 pm   DINNER MAGAZINE
News, sports and weather followed
by GENERIC REVIEWS, INSIGHT
and a DAILY FEATURE.
4:00 am   Sign-Off
HIGH PROFILES
8$0 pm: Five nights a week
01 Fri. David Johansen
02 Sat Echo & the Bunnyman Rarities
04 Mon, Tfre Three O'Clock
05 Tues. The Skids
07 Thur. Top of the Bops; Hank Williams
08 Fri. Basketball Broadcast
09 Sat Songs from Classic Movie
Musicals
11 Mon. Bunny Wailer
12 Tues. Rhino Records
14 Thur. Top of the Bops: K.D. Lang
15 Fri. Hockey Broadcast
16 Sat Legendary Pink Dots
18 Mon. AI Green
19 Tues. Where Were They Then?
21 Ttyur. Top of the Bops
22 Fri. Hockey Broadcast
23 Sat Vancouver Reggae
25 Mon. Lloyd Cole and the Commotions
26 Tues. The Young Fresh Fellows
28 Thur. Top of the Bops: Doo-Wop
29 Fri. Patti Smith
30 Sat Hockey Broadcast
WEEKDAY HIGHLIGHTS
MONDAYS
YOUTH FOCUS
8:309:00 am
An examination of youth issues and concerns, hosted by Lynn Price and Jocelyn
Samson.
01 Nov.  Youth Unemployment
08 Nov.  Youth and the Peace Movement
15 Nov.  Young Entrepreneurs
22 Nov. Media Effects on Youth
29 Nov. Music of Youth
MONDAY MORNING MAGAZINE
7:15-10:00 am
7:15-8:00     Cancon Music Made in Canada
8:15-9:00     Happenings Announcement and
small features.
9:00-10:00   Theatre of the Mind Radio-
cinema, directed by ESI
THE JAZZ SHOW
9:00 pm-1:00 am
Vancouver's longest-running prime time Jazz
program, featuring all the classic players, the
occasional interview, and local music news.
Hosted by the ever-suave Gavin Walker.
04 Nov. The latest album from Wynton Marsalis Black Codes (from the
Underground). His best yet.
11 Nov.   Phil Woods and His European
Rhythm Machine. Recorded at the
Frankfurt Jazz Festival. Phil's most exciting performance.
18 Nov.  Miles Davis and John Coltrain in
Sweden. Recorded just before Col-
trane left to form his own band.
Plus an interview with John
Coltrane.
25 Nov. Thelonius Monk and His All-Stars, including John Coltrane, Coleman
Hawkins, Art Blakey and featuring
Monk as musical quaterback, bringing out the best in everyone.
TUESDAYS
DOGS BREAKFAST
7:30-11:00 am
A goulash of aural surprises and "Over the
Fence" radio drivel some time around 9:00.
Special orders will be taken. Your waiter: Paul
Funk.
PLAY LOUD
Late night 1:00-4:00 am
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WEDNESDAYS
UBC WEEKLY
9:00-9:30
A new show dealing with issues of concern
to students at UBC. Premiers November 20.
JUST LIKE WOMEN
6:20-7:30 pm
Woman, heal thyself with Ann and Lil's
remedy for the Old Boys' Network: an hour
of news, interviews, and music. A shot in the
arm for all women, and for any man who
likes them.
THE KNIGHT AFTER
Midnight to 4:00 am
Music to clobber Yuppies by—featuring radio
shows traded with alternative stations in
Europe and the U.S. This show will really
mess up your BMW!
THURSDAYS
PARTY WITH ME, PUNKER!
4:00-6:00 pm
A new time slot for this two-hour show
which specializes in music described, for the
lack of a better word, as "punk rock." But it
can mean anything from the alcohol-rock of
the Replacements to the brutal thrash of
D.R.I, and anything in between. With your
hosts Mike Dennis and Andrea Gamier.
07 Nov.  Undergrowth Review
14 Nov.  TBA
21 Nov.  Circle jerks Preview
28 Nov.  TBA
TOP OF THE BOPS
8:00-9:00 pm
Top of the Bops approaches rock'n'roll from
the broader perspective of its roots in country, country swing and rockabilly as well as
R&B, jump blues and doo wop.
07 Nov.  At the US festival Hank Williams Jr.
sang, "If you don't like Hank
Williams, you can kiss my ass." Don't
be caught in that embarrassing
position. We'll give you plenty to
love. You can choose your friends,
but you...Where was I?
14 Nov.  As yes. Now there has been a lot of
talk about K.D. Lang and it has often
been said that she claims to be the
reincarnation of Patsy Cline. Find out
what all the fuss is about.
21 Nov.   Unless you have been living in total
seclusion for the past year or so, C TR fm 102 cab e 100
U
D
you will have heard of the Honey-
drippers. Roy Brown is the guy they
copped their licks from.
28 Nov.  A cappela—hey, no one can pronounce it, let alone spell it. That's
how the expression "doo-wop" was
invented (at least that's my theory).
We'll play them fast and frantic, we'll
play them slow and smoochy
MEL BREWER PRESENTS
11:00 pm-Midnight
We're never quite sure who Mel Brewer will
send our way each week, but he inevitably
comes through with somebody. Jerry King
joins Jay and Jason in a jamboree of jawing,
as we continue to bring you interviews with
Vancouver's finest independent bands. Call
us, or write care of Mel Brewer, if you have
any comments or suggestions for the show.
Remember, Mel loves you.
FRIDAYS
VANCOUVER INSTITUTE LECTURES
7:30-8:30 am
Lectures from the Vancouver Institute's Saturday night lecture series.
15 Nov.  Dr. Michael Gotlieb, Dept. of
Medicine, UCLA.  AIDS: Medical
Science in Action"
22 Nov.  Prof. C.S. Holling, UBC. "Ecosystem
Design: Local Surprise and Global
Change"
29 Nov.  President William G. Saywell, SFU.
"Relevance and our Universities:
Responsibility or Red Herring"
FRIDAY MORNING MAGAZINE
7:30-10:30 am
CITR's latest magazine show with everything
from music features to info
on the arms race.
POWER CHORD
5:00-6:00 pm
Vancouver's only true metal show, featuring
the underground alternative to mainstream
metal: local demo tapes, imports and other
rarities, plus album give-aways.
FRIDAY NIGHT FETISH
6:20-9:00 pm
Life after Life After Bed. Host "Rev." Garnet
Harry says this is CITR's only serious religious
broadcast, but don't believe it (unless you
subscribe to the Church of Alice Cooper).
THE BIG SHOW
9:00 pm-midnight
Why pay money to get into a nightclub on a
Friday night? If Big InrernationAl can't get you
dancing, no-one can.
THE VISITING PENGUIN SHOW
Late night 1:00-4:00 am
Interviews with local musicians and artists,
the newest sounds at CITR, your personal requests and even golden oldies. What more
could you want? Hosted by Andreas Kitz-
mann and Sheri Walton.
WEEKEND REGULARS
7:30 am   $*^n-On (Saturdays)
8:00 am   Sign-On (Sundays)
Noon        BRUNCH REPORT
News, sports and weather.
8:00 pm   SAT./SUN. MAGAZINE
News, sports and weather, plus
GENERIC REVIEW, analysis of
current affairs and special features.
4:00 am    Sign-Off
WEEKEND HIGHLIGHTS
SATURDAYS
THE FOLK SHOW
10:30 am-Noon
Host Steve Edge presents a wide range of
folk music, extending from the latest U.K.
Rogue-Folk through to all kinds of traditional
music from Canada, U.S.A., the British Isles
and just about anywhere else. Plus the latest
U.K. soccer results at 11 a.m.
02 Nov. Touchstone
09 Nov. Tannahill Weavers
16 Nov. Ossian
23 Nov. Moving Hearts
30 Nov. Dick Gaugan
NEOFILE
Noon-4:00 pm
Join CITR's music directors as they take you
through the station's new and exciting Spin
List.
WHATEVER HAPPENED TO
GILLIGAN'S ISLAND?
4:00-6:00 pm
Join host lain Bowman as he searches for the
answers to this and the other great questions
of life, the universe and everything. Required
listening for all philosophy students.
PROPAGANDA!
6:30-9:00 pm
An eclectic mix of interviews, reviews, music,
humour, High Profiles, and other features
with Mike Johal.
PYJAMA PARTY
9:00 pm-1:00 am
Your hosts Mike Mines and Robin Razzell
present everything from ambient music for
snoozing to upbeat tunes for popcorn and
pillow fights.
TUNES 'R' US
Late night 1:00-4:00 am
Music, Music, Music, Handyman Bob, Music,
Music, My Favorite Album, Music, Music,
Experimental To Classical, Teddy Kelowna
presents, and yes more music. R.I.P to Music
From The Tarpits.
LIVE THUNDERBIRD SPORTS BROADCASTS
FOOTBALL
Sat. 09 Nov., 11:45 am
UBC T-Birds vs. Alberta Golden Bears
HOCKEY
Fri. 15 Nov., 7:15 pm
UBC T-Birds vs. Saskatchewan Huskies
Fri. 22 Nov. 7:15 pm
UBC T-Birds vs. Regina Rams
Sat. 30 Nov., 6:15 pm
UBC T-Birds vs. Calgary Dinosaurs
BASKETBALL
The Buchanan Classic:
UBC T-Birrfs vs. SFU Clansmen
Fri. W Nov., 8:15 pm {game 1)
Tues* 12 Nov., 8:t$ pmfeame 2) November 1985
cSALfct- 1&&
-r   x   -r   i~ &      LMJci-
HUSKER DU
THE FALL
JANE SIBERRY
KATE BUSH
THE POGUES
SHRIEKBACK
THE UNTOUCHABLES
SKINNY PUPPY
THE GRAPES OF WRATH
MANU DIBANGO
VARIOUS
ANDREW GORDON
THE MEATMEN
CRIME & THE CITY SOLUTION
RED HOT CHILI PEPPERS
STEWARD COPELAND
SLY & ROBBIE
Flip Your Wig
This Nation's Saving Grace
The Speckless Sky
Hounds of Love
Rum, Sodomy & the Lash
Oil & Gold
Wild Child
Bites
September Bowl of Green
Electric Africa
Shindig!
Silhouette
War of the Superbikes
Just South of Heaven
Freaky Styley
The Rhythmastist
Language Barrier
SET (US)
POLYGRAM
DUKE ST./WEA
CAPITOL
STIFF (UK)
ISLAND/MCA
STIFF (UK)
NETTWERK
NETTWERK
CELLULOID (US)
ZULUBIRD
EAGLE (US)
HOMESTEAD (US)
MUTE (UK)
ENIGMA/EMI
A&M
ISLAND/MCA
cSpttftef i&?-&
i_ e     .t.ABet
THE BELGIANIQUES
Kansas/Follow the Crowd
**DEMO**
REDEMPTION
Not a King
**DEMO**
THE CULT
Rain
B.BANQUET (UK)
IRRITANTS
B.C. Spirit**DEMO**
TOUCHE
Animal.../...Autre Planete
**DEMO**
WOODENTOPS
Well Well Well/Get It 0
n
WEA (UK)
YOUNG FRESH FELLOWS
Update
POPLLAMA (US)
HUSKER DU
Makes No Sense at All
SST (US)
THE DILETTANTES
Theme/Drunken Augen
**DEMO**
DAVID J
Blue Moods Turn Tail EP
GLASS (UK)
THE TRIFFIDS
You Don't Miss Your Water
HOT (AUSTRALIA)
LOVE & ROCKETS
If There's a Heaven Above
POLYGRAM
FELT (W/ELIZABETH FRASER)
Primitive Painters
CHERRY RED (UK)
THE HIP TYPE
Illuminated/Blue-Bottle Flies
**DEMO**
EVERYTHING BUT THE GIRL
Charmless Callous Ways
WEA (UK)
LLOYD COLE & THE
COMMOTIONS
Brand New Friend/Her Last...
POLYDOR (UK)
LOST DURANGOS
Visions/I've Seen the Rain
**DEMO**
FAST FORWARD NEW RELEASES    IHi
ARTIST
TITLE
LABEL
CURRENT 93
Nature Unveiled
LAYLAH
HAFLERTRIO
Soundtrack to "Alternation,
Perception, Resistance"
LAYLAH
NURSE WITH WOUND
High Thigh Companion
LAYLAH
CHRIS AND COSEY
Techno-Primitive (Live from
the Luv-A-Fair, Oct. 9)
OFFTHEBOARD
VARIOUS ARTISTS
Excerpts from Oct. 27 Live
Tape Mix on Fast Forward
FASTFUCK
PAUL DOLDEN
Veils
TIMBRAL
LIBERATION
DAVID MOSS
Dense Band
MOERS
CURRENT 93
Dogs Blood Rising
LAYLAH
(Prolific aren't we?)
SKREE-A-BIN
Priere Pour Le Gibet
ANATHEMA
JASPER TROUT
Pieces of Nothing
SUTURE
SUNDAYS
MUSIC OF OUR TIME
8:00 am-Noon
20th Century music in the classical tradition-
Mahler to Medernal, Scriabin to Xenakis, all
styles, media, and nationalities. Hosts: Lynn
Price and Paul Smith.
ROCKERS SHOW
Noon-3:00 pm
The best in reggae with host George Family
Man Barrett, Jerry the Special Selector, the
Major Operator, and Collin the Prentice.
SOUL GALORE
3:00-4:30 pm
Focusing on Black-American popular music of
this century, this program takes you from the
birth of the blues through doo-wop, soul and
funk, from Massachusetts to California and
everywhere in between.
THE AFRICAN SHOW
4:30-6:00 pm
A program featuring African music and
culture with hosts Todd Langmuir, Patrick
Onukwulu and Dido. Tune in for the latest
news from Africa, plus special features at
5:00 pm.
NEITHER HERE NOR THERE
6:30-8:00 pm
Relevance? What relevance? Music, interviews,
comedy and readings of prose and poetry
with hosts Chris Dafoe and Paris Simons.
SUNDAY NIGHT LIVE
8:00-9:00 pm
FAST FORWARD
9:00 pm-1:00 am
Probably Vancouver alternative radio's most
alternative show. Mark Mushet searches the
world over for experimental, minimalist,
avant-garde, electronic, and other non-
mainstream sounds. There will be no format
programming this month on Fast Forward. It
will be a busy month. Thanks, though, to
those who submitted tapes for the Oct. 27th
Live Tape Mix under the banner of "Various
Artists:" Larry, Gerry King, Joe Naylor,
Clemens, Danielle, Matt Richards, Chris and
Cosey, the members of Skree-A-Bin, and
others whose contributions weren't received
at press time. Be on the lookout for the
return of the amazing Peter 'Thoosh" Marter
on Sunday Nov. 19th at 9 p.m. Aside from
that, just be on the lookout...
THE EARLY MUSIC SHOW
Late night 1:00-4:00 am
Join host Ken Jackson for music from the
Renaissance and Baroque periods, presented
at an appropriately early hour. This month's
highlights:
03 Nov. Music from the Time of the
Crusades
10 Nov.  An old favorite: Handel's Wafer
Music (Academy of Ancient Music)
17 Nov.  TBA
24 Nov.  A selection of Renaissance Motets INSTITUTE OF COMMUNICATION ARTS
is pleased to announce the opening of four additional student
facilities to be utilized for instruction as part of its audio/video
programs.
AUDIO ACCESS ONE
I.C.A. voice over audio production room.
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Campus.
ACCESS MOBILE
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OCEAN A
I.C.A./Ocean 24 track 2" audio
studio.
OCEAN B
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studio.
VIDEO STUDIO
I.C.A. fully equipped video studio
and editing facilities.
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Counselling Centre
#12 - 12840 Bathgate Way
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#83-2182 W. 12th Ave.
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I.C.A. Institute — Glenwood
(Counselling by appointment only)
5787 S.E. Marine Drive
Burnaby, B.C. DISCORDER
November 1985
Shriekback
Oil and Gold
Island
SHRIEKBACK'S OIL AND GOLD IS DARK,
distant and shiny. The sound is decidedly
high-teck; it took eight studios in which to record
it. Not surprisingly, it's an extremely well-crafted
record, with very little, if anything, seeming to
have been left to chance. The result is captivating
and moody, almost druglike in its ability to
change the listener's atmosphere and surroundings. Its moodiness is more cerebral than heartfelt, though; it's interesting, but somewhat un-
moving. It will transport you texturally, yet won't
really share anything with you. So in that respect,
the album is a little one-sided. The lyrics can attest to this, being written on the sleeve in an
alien-looking script. Obviously, they were written
more for their sound than literal meaning, and
are very difficult to read, let alone interpret. They
don't seem worth the effort, really.
While I was squinting at the lyrics, I noticed
that the backing vocals on some songs were provided by Clare Torry. Clare Torry? Harkening
back to my adolescent age, I remember her as
the singer in "The Great Gig in the Sky" from
Pink Floyd's Dark Side of the Moon in 1973.
(That's when the album came out, not when I
listened to it.) Did this happen by accident? Her
vocals on Oil and Gold are haunting and unusual,
and certainly not out of place. I couldn't help but
wonder what a 1985 equivalent of Dark Side of
the Moon would sound like, and Oil and Gold
could be a likely candidate. It really wouldn't be
undesirable; a great deal of time and expense
seems to have gone into the making of this
record, and Dark Side of the Moon is still, 12 years
later, among the top 200 selling albums. Perhaps
the electric guitar on Oil and Gold is more Gill
than Gilmore, but it's something that Shriekback
hasn't used at all until now.
Twelve years is a long time, within the context
of popular music. It is not a long time within the
context of music. A characteristic of music at the
moment is that it is becoming increasingly technology-laden. I'm not saying this is bad, because
in general, computer-age musical technology is
meant to make things easier for musicians to do.
Unfortunately, the less money you have, the less
there is of certain things that you can do. This
is nothing new, really, but these days, dollars
have more direct aural repercussions. The
reason I'm getting into this and that, surprisingly, among all the high-tech flash of Oil and Gold,
one of its most powerful and affecting moments
happens with an acoustic instrument. It's in the
last track, "Coelocanth," and the instrument is
a shakuhaci, a flute which was one of the three
representative instruments in Japanese music
from about 1600 to 1868. Its sound is reassuringly familiar, something which is immediately
recognizable as being acoustic.
Oil and gold are ancient things—dark and
subterranean, much like deep-sea fish pictured
on the back of the album. Depth is distance in
space; oil, gold, fish, and flutes also have distance in time. This record, with its ancient imagery, is like a dark ivory tower, beautiful but impenetrable. It has also achieved a spiritual distance. It is a distance which has been bought
in the recording studio. You can spend a lot of
time with this record. It spans a lot of time, but
won't stay with you a long time.
—Don Chow
Kevin Zed
Double Dutch
BEAT RECORDS
MONEY IS TIGHT THESE DAYS. SO WHAT
else is new? Well, if you're a music fan with
a predilection for local stuff, you've got to start
making some tough choices. To pay the hydro
bill or not to pay the hydro bill (on second
thought, that's not such a difficult choice).
Whichever way you look at it, you're going to have
to shell out some extra bucks to keep your local
collection current. In fact, so many excellent
records are being released in the Lower Mainland
and on the Island that if you even try to buy them
all, you won't be eating for a month.
You should start by cutting red meat out of your
diet. They say that it's very bad stuff. The money
that you save should be put towards the purchase
of some vitamin-enriched Vancouver product.
May I suggest Kevin Zed's debut EP, Double
Dutch. With the proliferation of impressive independents like Nettwerk, Zulu, Mod Da Mu and
others, Kevin Zed is doing it the old way, his own
way, the hard way. An admirable job.
Double Dutch is a collection of songs that
Kevin has been tinkering with for a couple of
years. Regular CITR listeners will be familiar with
some of this stuff, particularly "Saigon Orders"
which got a lot of airplay as a demo single some
18 months ago. Good production will always
bring out the best in a song that relies on a
thumping bass to make it go and this new forti-
Vinyl
fied version of "Saigon Orders" would be at
home on any dance floor turntable. At the very
least a truly irrepressible toe-tapper.
Unfortunately, that oft-repeated American beer
commercial says it best: "It doesn't get any better
than this." I can only say that my feelings about
the rest of the record are mixed. "UR" and
"Dead Boots", both formerly CITR demos, benefit
from Robert Bailey's uncluttered production approach, but they retain a certain awkwardness
that really defies interpretation. They're not bad
songs but they aren't in the same league as
"Saigon Orders". Nevertheless, there's a certain
quirkiness about them that grows on you after
a few listenings.
Kevin's biggest asset, yet his greatest liability,
is his voice {huh?). It is of extremely limited range
and little power, usually the kiss and hug of death
for a singer. In Kevin's case, these detrimental
qualities are rather curiously counterbalanced by
his distinctive ability to sing without singing, to
keep the phrases relatively short and let the instruments carry the bulk of the song. In that
sense, he is an excellent songwriter. If only
because he knows how to write a song for his
own voice.
All in all, an impressive if flawed effort that
deserves your attention. Bend an ear.
—Steve Robertson
Jerry Jerry and the
Sons of Rhythm
Orchestra
Road Gore
OG RECORDS
' O SAY THIS IS A FUN BAND IS AN UNDER-
statement. This Edmonton group has dedi- CITR fm 102 cable 100
Verdict
cated their lives to parties, alcohol and a raunchy,
bluesy style of rock 'n roll. But just how much
"fun" are these guys? Let's have a look at just
a few of their qualifications for "fun status":
—They give thanks to the Church of the Fallen
Elvis and the Edmonton Oilers, along with 60 or
so other fun institutions.
—They write fun lyrics like: "I'm your candle
holder, Get that cross above your shoulder."
—All band members are forced to adopt cute
pseudonyms like Sparky the Happy Troll.
—Subtitled The Band That Drank Too Much,
the album jacket sports a photo of the band
seated around a truly formidable supply of liquor,
and references to beer and bourbon pop up
everywhere.
—They write really fun songs iike "Gospel
Surfer" and "Rancher Kings".
To be fair, there are things on this disc that
elevate it above the level of the totally faceless.
"Rhythm Crazy" is a bouncy, no-nonsense tune
that bristles with excitement, but it seems that
maintaining this much energy is difficult after one
too many cheap bourbons.
Maintaining a high level of fun is a similar problem. The Jerrys' sense of humour is just not
enough to carry the album through tedious 12-
bar blues arrangements. If your idea of fun
doesn't include bourbon and inane political
humour, then you'll probably be as bored with
Jerry Jerry and the Sons of Rhythm Orchestra
as I was.
—Neal Roese
The Men They
Couldn't Hang
Night of a
Thousand Candles
IMP Records (U.K.)
AT LAST, THE FIRST ALBUM FROM ONE
of the leaders of the rogue-folk explosion in
the U.K. has been released.
It contains at least three classic songs: the
haunting, angry Eric Bogle composition "Green
Fields of France/No Man's Land" which was on
the CITR playlist for months and topped the
U.K.'s independent charts for many weeks; the
closing track "Scarlet Ribbons" and the wonderful "Iron Masters."
There are many musical styles represented
here: hard rock, reggae, folk and pure pop. This
versatility give the band a genuinely thrilling
potential. They were readily snapped up by Elvis
Costello for his IMP label, and although he was
unable to do the production himself owing to
other commitments (the Pogues' second LP, and
his joint project with T-Bone Burnett as The,
Coward Brothers), his partner at IMP, Phillip
Chevron, has stepped in to good effect.
The rocking tracks are "The Day After" (about
the irrelevance of the apocalypse when you're
in love!?), "Jack Dandy," "Johnny Come Home"
(a reflection of the seedier possibilities of life in
the big city—check the Pogues' "Old Main Drag"
for more details), "Walkin' Talkin' " and "Kingdom Come." There is an excellent reggae-style
version of "Hush Little Baby" which was on the.
"Green Fields" 12-inch, and "A Night to Remember" is a fine pop song.
The standout is "Iron Masters," almost a long-
lost cousin of Rosselsson's "World Turned Upside Down," it details the sorry story of the Chartists' struggle for unionization in Wales. Paul Sim-
monds, the songwriter, describes it thus: "There
was an attempted revolution in Newport. They
marched up to this hotel to free the Chartist
leaders who had been arrested but someone
squealed and the Redcoats were waiting for
them. Many were killed and the rest were sent
to Australia, which effectively crushed the opposition, although it did not kill the union movement.
They had it like Thatcher would like it now, it's
a comment on modern times also." Indeed, and
the Men were one of the most active bands playing miners' benefits during last year's strike.
"Scarlet Ribbons" is a criticism of the sort of
euphoria whipped up by the gutter press to celebrate the victory over the Argies in the Malvinas
(oops! the Falklands). Another fine anti-war
statement.
All in all, a very promising debut and the drift
towards more traditional music augurs well for
the future. By all accounts they are a great 'live'
band too. Hopefully it won't be long before we
are able to judge this for ourselves.
—Steve Edge
Red Herring
m mmm
mvre nests
Taste Tests
Neon
LET'S LOOK AT THE COVER (WHICH WAS
hand-drawn by Martin Walton, the bass
player).
Front Side: Top - Red Herring. Middle - A fish
outlined in red, gasping in shock, surprise or
befuddlement. Its eye stares straight out at you
like this was an Edgar Allan Poe. Bottom - Taste
Tests (in somewhat smaller letters than the
band's name).
Back Side: Top two-thirds - lyrics, credits,
thanks, mailing address, number of revolutions
per minute necessary to accurately reproduce
intended sound. Bottom third - drawing of the
band as they looked a year ago.
Inside: The inevitable plastic disc.
Taste Tests starts off with "Love Machine",
which sounds to the uninitiated like a bad
Thomas Dolby imitation. "Maturity" likewise does
little to convert the Great Unwashed to Herring-
hood.
"Taste Tests" (obviously the title track) improves substantially, but at the expense of the
cola wars, which I am rather fond of and I don't
like hearing them belittled. A nifty lounge jazz
break is included, however.
Side Two is the salvation of the EP. "If You
Work For Me" retains much of the live feel of the
version on Undergrowth '84. My boss loves this
song.
For some reason the "weirdest" song on this
album also contains the best pop hook: "The
Crab Song" takes the naive perspective of a
crustacean about to be dropped into boiling
water. How often do you hear lines like "In my
exoskeleton" on CKLG? Not often enough, I'll
bet.
"Feelings" concludes the EP. Fortunately, it
isn't a cover version of that quintessential 70's
classic. The lyrics look a little corny, but their
delivery turns this song into a very bouncy and
likeable foot tapper.
The best feature of the album is the sound of
Stephen Nikleva's guitar—nice liquid tones which
almost remind me of Adrian Belew at times. The
rhythm section keeps one's head nodding at an
agreeable rate, while Enrico Renz's not quite normal view of life keeps things interesting.
I feel a lot of pressure to like local records,
especially releases from bands I like. I've always
thought fondly of Red Herring and I wish I could
wholeheartedly recommend their first album to
everybody. Unfortunately, I think they have produced an album to delight existing fans but without the accessibility to win new followers. If,
however, Taste Tests is to be your introduction to
Red Herring, I suggest you prepare by thinking
unconventionally and playing side two first.
—Dave Watson
Jah Wobble &
Ollie Marland
Neon Moon
SO, JUST WHEN YOU THOUGHT WHITE
guys had no rhythm, here's two guys who
positively stink of it. DISCORDER
November 1985
A la Sly Dunbar and Robbie Shakespeare,
misters Jah Wobble and Ollie Marland have combined efforts on a smooth and thoroughly enjoyable EP. Of course, perfect for any dance floor,
the subliminally mesmerizing rhythms are the
ideal accompaniment to almost anything you
could think of—a lazy Sunday afternoon, unwinding after work...canning fruit. However, the underlying and overall themes involved here are music
only, and there are no pretentions of social commentary or depth. Lyrics here are meant purely
for musical enhancement, and are richly interpreted on the first side by vocalists Shara Nelson,
Norma Lewis and Lisa Sullivan, and especially
by Lorna Rowe on the song "Running Away."
The first side is consistently smooth. Where
a listener's attention might lag due to the lack
of vocal punch, Marland and Wobble save the
day with cleverly-placed and brilliantly-executed
instrumental solos, most notable the Miles Davis-
inspired trumpet bits.
The artists let themselves down somewhat in
the opening lines of the second side. Their attempts at artistic obscurity begin to sound like
"Sade meets the Residents," with a nerve-grinding overuse of drum machines (c'mon, with three
drummers listed in the credits, this should not
be necessary). They redeem themselves, however, as they return to what Wobble does best,
with the Reggae-inspired "Despike" (German for
"the bike"), probably the best track on the album.
Wobble shows his production genius as he lightly
layers the song with an interesting and wide
range of instruments, varying from congas to
pedal steel guitar.
All in all, what we've got here is an album that
hits more than it misses, with a slick sense of
style. This is music purely and simply. In short,
very pleasant listening. Give your brain a break,
and buy it.
—Fiona Couchman & Colin Stacey
THE GRAPES
OF WRATH
September Bowl of Green
NETTWERK
SEPTEMBER   BOWL   OF   GREEN,   THE
Grapes of Wrath's first full-length album, is
the type of record that becomes more enjoyable
with repeated listening.
Whether this is a good thing or not is hard to
say. Perhaps it is indicative of my first reaction
to the album. Somehow, I expected more. The
songs are written well enough and the melodies
are certainly catchy, yet something seems to be
missing.
Kevin Kane and the Hooper brothers, Tom and
Chris, just don't seem to be giving their all in
these grooves. I just don't get from the album the
energy and the sincerity that the boys bring
across in their frequent live appearances or even
on their first EP.
The remix of "Misunderstanding", for instance,
seems rather flat and tedious in comparison to
the EP version. It lacks the freshness and fluidity
of the original.
Yet I can't say that I don't like the album, September Bowl of Green, is full of pleasant sounds
and images, catchy hooks and interesting diversions. Songs like "And I Know", "Didn't You Say
Something" and "Love Comes Around" in particular stand out as "perfect pop songs." They are
comfortably reflective and generally put one in
a good mood.
In fact, with repeated listening one's appreciation of SBG seems to grow. You begin to catch
all those guitar riffs, harmonies and marimba
sounds. This characteristic, however, could be
a potential downfall for the Grapes of Wrath.
Much of an album's success relies on first impressions. September Bowl of Green is not initially striking and only becomes interesting if one
takes the time to listen to it carefully.
Should one choose to do so, September Bowl
of Green will eventually become a pleasant experience. Such was the case with this listener.
Indeed, patience can sometimes be a virtue.
—Andreas Kitzmann
^^m/j%
^ CO%t4%Cf04($4t$4*ft*+*K*
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MHfe
2936 West 4th Ave. 734-2828 DISCORDER
November 1985
Demo Derby
IT SEEMS THAT I HAVE ACQUIRED THE
reputation of a "slag" in so far as Demo Derby
is concerned. My friends just think I have a poor
attitude at times. I'd like to defend myself as far
as Demo Derby goes by saying that the months
I reviewed were just particularly sparse in the way
of good demo tapes. However, this month is
going to be different. I'm going to say only nice
things or nothing at all. It's going to be difficult
because I only really liked (loved) two of the demo
tapes I reviewed. Pointed forks poised? Enjoy...
THE IKONS
"Come Back To Me Lover",
"The Sentence", "The Reunion" and
"No More Flowers"
ANOTHER GREAT BAND fresh out of the garage from Toronto. The first track on this cassette
is entitled "The Reunion" and it's a great song
as are the other three songs on this demo. In
"The Reunion", the singer manages to sound like
a morose Jonathan Richman. The effect of his
(the singer's) voice is great as it is backed up
with twanging, acoustic guitars giving "The Reunion" a rough, folky quality. "Come Back To Me
Lover", "The Sentence" and "No More Flowers"
are all upbeat songs with an element of psychedelia and roughness making The Ikons garage
band sound. The Ikons have a distorted guitar
sound reminiscent of The Violent Femmes and
Lou Reed. This stuff is teenage angst grown up.
My only complaint is that I wanted to hear more.
And, oh yeah, the cover to this demo tape was
pretty neat-o too.
ITSA SKITSA
"The News", "Don't Stand in The Way"
and "Public Life"
I LIKED the name of this band and this demo
tape is well produced.
THE HURT
"Never"
THIS DEMO was CAPAC-ed in 1985 and the
song "Never" is well produced.
BAD ATTITUDE
Demo
UNFORTUNATELY the cassette I received to
listen to was blank. I don't like to think ill of anyone so I'm not going to take the whole blank cassette thing as a reflection of the band's attitude.
It was more than likely an honest mistake.
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IDLE TEA
"Awfully Nice Eyes"
THIS DEMO is great. From the sounds of this
one song, I believe that this band would be wonderful live. In fact, I'm really browned off that I
missed Idle Tea when they were here in September. Hopefully they'll leave Edmonton soon and
come back to Vancouver. "Awfully Nice Eyes" is
an extremely catchy pop song. It's got tambor-
ines. It's got audible lyrics. It's got pizazz.
Whoever produced this demo tape didn't pasteurize the "fun" out of it either. The production
on "Awfully Nice Eyes" is good; but not too good.
Idle Tea has a really fresh quality and if "Awfully
■ Nice Eyes" is any indication of what their repertoire is like, I'd like to hear more.
HIROSHI YANO
"Halo"
MY MOTHER thinks the cover of this demo
tape is very artistic; so do I. Not only is the cover
nice, but the production on "Halo" is very good.
Since the more the better is better, "Halo" is fine.
Hiroshi Yano has produced a nice big, long song.
And "Halo" isn't one of those songs that pulls
nasty little surprises either. Hiroshi Yano has
given "Halo", shall we say, unassuming guitar
hooks complete with a nice, steady drum beat
and swelling keyboards in appropriate places.
Nothing shocking to be found here.
OMINOUS CINEMA
"Vae Victus"
AGAIN, A DEMO TAPE in a nice holder with
nice production. "Vae Victus" is a dark and
meaningful song made so by "extendo-key-
boards" and steady bass lines. At first listen I got
the feeling that Ominous Cinema was perhaps
expressing some deep-rooted sadness or bearing some dark truth about the world that only
they knew. "This is real, And I will live" they sang.
Then I listened more intently and realized that
they must be expressing what they think people
are supposed to feel like in the aforementioned
states of being. I felt glad. I hate thinking of other
people having to carry horrible burdens like
sadness and dark truths. To my great comfort,
Ominous Cinema didn't pull any fast ones on the
listener. They stuck to the familiar.
IRRITANTS
"B.C. Spirit" & "No Meaning"
YOU CAN TELL that the Irritants are a concerned bunch of hard-core punk rockers.
Although they aren't saying anything new, it's
nice to have the same things preached at you
over and over again. It's sort of like positive reinforcement. "B.C. Spirit" is all about Expo 86 and
"No Meaning" is all about the futility of life. In
"No Meaning" the Irritants croon: "Life has no
meaning to me now." I hope things get better for
them. Even though the Irritants aren't exceptionally inspiring, perhaps the young people who
listen to this band will be motivated to think:
"Gee, my life isn't so bad after all." or "Heck,
I'll get my Dad to buy me a guitar and go out and
get a band happening." All in all, I can safely say
that the Socred Government wouldn't like these
songs. Why not send a copy to Bill Bennett or
Grace McCarthy?
—Julia November 1985
ARMCHAIR EYE
I LIKE FRANKIE GOES TO HOLLYWOOD.
Sure they tend to wallow in their own hype,
and take their phenonema (if not themselves) a
touch too seriously, but in the end they usually
deliver. The album was good, the concert was
one of the best to hit Vancouver all year, and their
sense of humour and style has been consistently
irreverent. No, they're not the Pop Gods they'd
like us to think they think they are, but they are
fun guys. This has been particularly evident in
their video work. Who, for instance, did not
double-take at least once the first time he/she
saw the restricted versions of "Relax" and "Two
Tribes". Here was pop product with all the gleam
and polish of a Cola commercial that actually
dared comment on (or shall I say exploit?) the
inevitability of nuclear mega-death ("Two
Tribes"), and the related boom-thud-boom-thud-
orgasmic-crash-and-burn of your friendly neighbourhood discotheque ("Relax").
Media anarchists take on mainstream poor
taste on its own terms and come out on top (in
Britain, at least, where their records outsold
everybody else's). It was the kind of phenomenon
that made this cynic smile—which brings us to
my current frown: Frankie's first full-length video
cassette release, From Wasteland to Artifical
Paradise. With the exception of a brief chunk of
backstage interview footage, it's just a compilation of their videos: the aforementioned "Relax"
and "Two Tribes", plus "Welcome to the Pleasure
Dome" and a live version of "Relax". Recommended only for those who haven't see them yet.
SPEAKING OF INVENTIVE FUN, A DIFFER-
ent kind of SPECIAL MENTION is in order
for Monty Pythons Meaning of Life. You will
recall, it's the most recent theatrical release from
everybody's favorite cadre of British geniuses
masquerading as idiots (or is it the other way
around). It did okay at the box office some three
years ago and has been hanging around in most
video stores ever since. Most of you no doubt
have seen it (if you haven't, why the hell not?)
and are probably wondering why I've bothered
to bring it up. Quite simply, to shed light on the
various musical numbers that occur throughout
the film: the title track The Meaning of Life,
Every Sperm is Sacred, The Galaxy Song and
It's Christmas in Heaven. In these four songs,
and their visual accompaniment, you've got arguably the best (certainly the funniest) samples
of short subject music video (or music film, or
whatever) yet produced by anyone.
Pop music brings out the silly-extreme-edge
of any culture, and anyone who's ever given it
much thought knows how extreme the silly edge
of Western culture is. An entire working class
Catholic neighbourhood sings Every Sperm is
Sacred as a single family's several dozen
children march dejectedly off to the research
center to which their father has sold them for
scientific experiments (he can't afford to feed
them, but his wife will continue to give birth to
more because the Pope says all forms of birth
control are evil). A man in a tuxedo steps out of
a refrigerator and takes a depressed housewife
on a whirlwind tour of the universe to the tune
of The Galaxy Song, in order to make her feel
small and insignificant so she won't have any
qualms about giving up her liver (and her life)
for an organ transplant. Et cetera. This is funny
stuff, not to mention very good satire. The only
depressing thing is how ineffectual and ultimately
indulgently useless 99.9/ of what passes for
music video art really is in comparison. Monty
Python's Meaning of Life is recommended for
everybody, young and old, cynical and otherwise,
even if you have already seen it.
BAUHAUS LIVE & CHROME IS ANOTHER
thing altogether. Here is footage you likely
have not seen before. Thirty odd minutes of
Bauhaus in concert performing mainly material
rrom their first album, plus thirty odd minutes of
Chrome's experimental music videos (no, I
hadn't heard of them before this either). The appeal here is probably a touch limited. Bauhaus
fans and lovers of'scarey, scarey rock theatrics
(like me) will like the first part. Fans of weirded
visuals cut to weirded music (like me) will like
the Chrome. Yes, there's something refreshingly
non-mainstream about both sections, but no, you
don't need to see Bauhaus Live & Chrome to truly
have lived.
SPECIAL MENTION must be made of Action
Video, the distributors of Bauhaus Live & Chrome.
In case you're not aware, tape piracy (ie: the illegal taping for fun and profit of somebody else's
tapes) is a very real problem in the industry. So
what does Action Video do to safeguard their product? Why they burn their name into the bottom
of the frame (not in particularly small letters
either) for the entire duration of the video. Who
needs organized crime to undermine the credibility of an industry when you've got door knobs
like this operating legitimately. One can only
hope that, come the inevitable revolution, those
responsible will be among the first to be impaled
on spikes and forced to watch Three's Company
reruns until they bleed to death.
—Bill Mullan
MIDNITE MADNESS!!!
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Including UBC, other campuses, and all Vancouver public libraries. DISCORDER
November 1985
The Roving Ear R R
This Month: On Tour with Go Four 3
There's a million bands in this city. Some
of them go on tour, a few come back. This
is the sordid tale of one such band. Go
Four 3. My name's Quinn, I'm a guitarist...
Saturday, August 24: Kick off the tour in
Calgary. Prior to sound check, the band suffers
its first casualty. Roxanne rips her pants on the
door of our tour van. Too funny! We all laughed
'til we stopped. Stay at a friend of Ike's (our drummer), Brent Cooper. Brent's Mum and Dad fill us
full of Calgary corn until we are ready to burst.
Pass on the chocolate wafer mint. Play a great
gig at Ten Foot Henry's. Very enthusiastic crowd.
Sunday: August 25: Tourist time in Calgary,
catch the Campfire Boys busking on the streets.
Try to find an Arby's but get lost. End up "eating"
at Chicken On The Way and having a greasy
corn-fritter fight, with the tour van permanently
marked with fritter grease.
Monday, August 26: Ike drives while I thrash
Gord and Roxanne at cards. Gord refuses to talk
to me for the rest of the tour, tell him to stick to
checkers. Drive to Regina.
Tuesday, August 27: Stay overnight at friend
of Roxanne's. Wake up to floor full of feathers—
Gord's sleeping bag leaks. Walk down the streets
of Regina, with everyone staring at Roxanne's
haircut. Almost all of Regina comes to a standstill to marvel at spiked hair. Never seen so many
mac jackets and Black Sabbath t-shirts in my life.
Play Beat Club to an overflowing club of 50 or
so. Wow, the big time.
Wednesday, August 28: Drive to Winnipeg.
Get screwed by promoter Dave McKeegan. He
books us with two reggae bands in a Caribbean
restaurant called Verna's. He fails to show for
sound check so we get a last second gig at the
Royal Albert Arms playing with a band called
Monuments Galore. Go over well, drive back to
Verna's and finally meet McKeegan who looks
like a reject form of life from Stampede Wrestling. We refuse to play without half the cash up
front. We had heard horror stories about this guy
from bands in Calgary and Regina. He blubbers
awhile before giving us half up front and promising the rest later. After the reggae bands play,
a limbo dancer goes underneath a flaming pole
before we go on. Play a long set and jump off
stage to get the rest of our money off a surprised McKeegan. He gives us part of the rest of the
money and says he'll pay us the rest next time
we're in Winnipeg. He then gives us directions
to a freeway that would have led us to Minnesota.
Fortunately we had some road maps that got us
on the way to Toronto. Drive in shifts all Thursday and Friday.
Friday, August 30: Play the Rivoli with excellent Toronto band called Change of Heart. Best
gig of the tour. Talk to reporters from Grafitti and
Canadian Musician who want to know which
major labels are talking with us. We want to know
also. Talk to rep from WEA who doesn't like our
verses or choruses. Hmmmm.
Saturday, August 31: Play a club called Blon-
dies. Disco downstairs, club upstairs. PA. keeps
cutting out all night, soundman doesn't believe
in miking the drums. Most disappointing gig of
the tour. Back-up band, the less than fabulous
Thunderbirds, drink all our beer backstage while
we are playing. Ike left the stage for the last three
songs, but nobody noticed since the sound was
so bad.
Sunday, September 1: Drive to Montreal, do
radio interview with CBC's Brave New Waves.
What an amazing studio and building. Now I
know where our tax money goes. Spend the next
few days doing radio interviews and nightclub-
bing.
Thursday, Septmeber 5: Wake up from alcoholic binge to eat at Windsor Arby's. Play at
Windsor College in a room similar to the Pit at
UBC. The poster says "Go Four 3—Molson
Canadian Night." Wow! Almost our first tour
sponsors. Other posters refer to "creaming" over
Roxanne's body. Not surprisingly we get a large
turnout of engineer-types chanting for Led Zep-
plin and Rock and Roll. To top it off, student
council rips us off by not charging any money
at the door, of which we were supposed to receive
a large cut.
Friday, September 6: London, Ontario and a
large turnout at Bullwinkles. Put out an energetic
set despite lame PA. system. Get a great write-
up in London Free Press. Have earlier phoned
I.R.S. Records' rep and asked him to drive out
and see us. He refused, saying London was out-
of-town for him (an hour's drive from Toronto).
Gee, sorry to put you to too much trouble, considering we drove from Vancouver.
Saturday, September 7: Last gig at Kitchener,
in the Back Door Club. Walk inside and ask
where the stage is, and am told I'm standing on
it. This club was so small that when I stepped
up to do a guitar run I was standing behind the
audience. Make enough money to eat at Tim Hor-
ton's over the next couple of days. Drive straight
back to Vancouver after gig for Luv-A-Fair gig on
Thursday.
Epilogue: All in all, a successful tour, though
next time we'll fly to Toronto rather than drive.
Right across the land Vancouver is considered
the musical hotspot of the country, what with
Zulu, Nettwerk, and MoDaMu releases. The only
tour casualty was Ike, whom we last saw in Toronto waiting for a small bacon and salami pizza at
Pizzarerro. He'll probably be in the next Scors-
cese film.
—Steve Quinn
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