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 That Magazine from CITR fml02 cablelOO       DECEMBER 1986 • FREE!
cas
,28 f>«ig COLLECTOR'S R.P.M
RECORDS • POSTERS • MEMORABILIA
456 Seymour 685-8841
SEE OUR MARILYN POSTER
EXHIBIT THROUGH DECEMBER
NEW! TOP 40
COMPACT DISCS-
11.99 with approved CD trade-in
BEATLES WHITE ALBUM
NEW IMPORT with inserts
17.99 (Reg. 24.99)
Flexi Pop Cure Issue 4.99
KISS Poster - Set of 4 Solos 6.99
ELVIS Hillbilly Cat Poster 1.99
ROCK VIDEO RENTALS
99c WITH THIS AD!
Celebrity Photos just 49C
TOUR PROGRAM: Led Zep, Neil Young 4.49 DfcORDER
That Magazine from CITR fml02 cablelOO
December 1986 • Vol. 4/No. 11
EDITOR
Michael Shea
WRITERS
Iain Bowman, Jerome Broadway, Don Chow,
Steve Edge, Ralph P. Gleason, Marsha Harris,
Kirby Hill, Janis McKenzie, Mark Mushet,
Mark Quail, Vic Ranier, Eric Von Schlippen,
Karen Shea, Robert Shea, Julia Steele
ART DIRECTOR
Eric Damianos
CARTOONS
Rod Filbrandt, William Thompson
COVER
Arghll
PRODUCTION MANAGER
Karen Shea
DESIGN
Harreson Atley
LAYOUT
Johanna Block,   Pat Carroll, Shedo Ollek,
Paul Scholten, Lynn Snedden
TYPESETTING
Dena Corby
BUSINESS MANAGER
Randy Iwata
ADVERTISING MANAGER
Robin Razzell
DISTRIBUTION MANAGER
Michael Shea
SUBSCRIPTIONS MANAGER
Randy Iwata
PUBLISHER
Harry Hertscheg
DISCORDER, c/o CITR Radio 6138 SUB Blvd.,
Vancouver, B.C., V6T 2A5. Phone (604) 228-3017.
DISCORDER Magazine is published monthly by
the Student Radio Society of the University of British
Columbia (CITR-UBC Radio).
CITR fm 101.9 cablelOO. 1 broadcasts a 49-watt signal in stereo throughout Vancouver from Gage Towers
on the UBC campus. CITR is also available via FM
cable in Vancouver, West Vancouver, North Vancouver, Burnaby, Richmond, Coquitlam, Port Coquitlam,
Port Moody, Maple Ridge and Mission.
DISCORDER circulates 17,500 free copies. For
advertising and circulation inquiries call 228-3017 and
ask for station manager Harry Hertscheg.
Twelve-month subscriptions available: $10 in Canada, $10 U.S. in the U.S.A., $15 overseas. Send cheque
or money order payable to CITR Publications.
Unsolicited manuscripts, photographs, cartoons
and graphics are welcome but they can be returned
only if accompanied by a self-addressed, stamped
envelope. DISCORDER does not assume responsibility for unsolicited material.
IN THIS ISSUE
DANCING TO THE BEAT OF A DIFFERENT DRUM
Karen Shea discovers African drumming and dance,
right here in Vancouver. 6
THE CHINESE ENVOY WAS HERE
Don Chow arranges John Cale so he makes sense. 10
AN ELEMENTAL EVOLUTION
Hunters & Collectors are a rock and roll band from Australia,
the oldest land mass on Earth. 15
GUTTERSNIPES
"Woolly Knits Save Lives," says main mouth-piece Paul McKenzie.       20
THROUGH THE EYE OF THE LENS
John Scully went to a lot of gigs last month,
and he's got the pictures to prove it. 28
THE ARMCHAIR EYE
Jerome Broadway makes his TV Christmas List. 46
IN EVERY ISSUE
AIRHEAD
A forum for Discorder readers who have something to say. 4
SHINDIG
Oversoul Seven goes over the top. 27
BEHIND THE DIAL
The mysteries of CITR unveiled. 30
SPIN LIST
Albums and singles currently receiving copious amounts
of airplay on FM 102. 31
ON THE DIAL
Required reading for radio revellers 32
VINYL VERDICT
The last word on new releases from VEJI, The Fall, The Stranglers,
Andreas Vollenweider, Jason & The Scorchers, Billy Bragg,
Run DMC, and Mark Mushet. 34
LOCAL MOTION
Janis McKenzie puts you on the right track in a new column
featuring demo-tape reviews and libellous gossip. 44
DECEMBER  1986       3 A Reader Writes
Enclosed please find an article which I hope you can use because it has to be said. And the
people to whom it should be said are, I believe, with all due respect, amongst your readership.
Yours truly,
Marsha Harris
The Fashionably Talented Lover as Raison D'etre
Have you managed to secure possession of a star? An enchanting bit of high status talent who
looks every bit the part of a possible success in some titillatingly creative endeavour; photographer,
filmmaker, painter, actor, writer, or, 'piece de resistance,' your very own rock musician (preferably
a frontman)? Granted, this is the ultimate in stylish accessory, the acquisition of which is no mean
achievement, the competition being as fierce as it is. You've put in your time hanging around the
right club, cafe, film series, gallery openings, performance art events, whatever, and come out
a winner. So you deserve it. Right? And you're not just some run-of-the-mill groupie. You are seriously involved in the related area of hair, makeup, layout, modelling, costume fabrication, working
as an extra; pick one.
This is a serious relationship. It's no picnic. But you really love him for himself, so you're using
your talents to help him realize his creative potential. And you put up with him when he acts like
a four-year old. This is called being supportive. And it gives you some rights. Right? It certainly
proves you're no groupie. Wrong.
The relevant question is, apart from him, who are you? What, down there in your heart of hearts
where the flattering glow of reflected glamour doesn't penetrate, do you think you are really worth?
It is astonishing how many bright, aggressive young women are hurling their energies into trying
to make themselves indispensable to some stylishly angst-ridden fashion item. Back up here
to replay on that word, 'indispensable.' This usually involves indulging and nurturing said item's
weaknesses. In essence, you play mum. You dole out the drugs (or money for same), while telling
him too much isn't good for him. Too much is especially any binge he goes on independently
of you. In such an instance you are entitled to scold him severely for his own good. And he can
be sullen for a while as long as he is contrite later, which is very gratifying. You must never lose
sight of your overall objective, which is to render him as dependent as possible.
Unfortunately, most children ultimately do rebel. And although he may never have the balls to
leave mommy, he'll almost always abuse her. So here we have a manipulative love that attempts
to bind its object by feeding its weaknesses. But whatever subtle undertone of destruction may
lie in your affection for him is more than drowned out by the heart-rending swell of the pain that
the dear child callously inflicts on you. The beast. You're giving him your all and he repays you
with moody self-indulgence and infidelity. And all you ever wanted, with a will that could move
mountains, is that he recognize you as the necessity that you like to think you are. His work should
stand as a testament to you. After all, it's as much yours as his, isn't it? Sure, the filthy public
thinks he's a genius. But you know better. He's yours. Ergo he is you. His glory is yours by right.
You wash his shorts.
Face it. You are a ghoul. That's a groupie who has fought her way to the inside. All girl ghouls
should arise and strike off their symbiotic accessories. Let's face it, ladies. There is no vicarious
success. For an ambitious, intelligent woman this road leads to anger, jealousy and ultimately,
frustration. So send the baby boys out into the world. The best of them will survive. And who knows,
maybe they'll come home again—as adults. In the meantime, ladies, look to yourselves. Start'
your own band, theatre company, photo studio, magazine; pick any of the above. And then, if
you still want to dabble with cases of arrested development, you can do so from a position of
status and self-respect in your own right. And you'll be much more likely to be able to afford to
pay for the drugs.
4     DISCORDER PRMCF   ROCK   /   FUNK   /   CI P
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December 10
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DECEMBER   1986       5 <*a
AT A DISTANCE OF 10,000
kilometers from the continent of Africa, you wouldn't
expect to see more than a
polite interest in the music of African
culture. We Canadians are by no
means unaware of the musical attributes of the big wide outside world. But
pure ethnic music like tribal rhythms or
Afro-Cuban salsas don't seem to reach
wider audiences than those of alternative radio specialty shows (see CITR's
African Show and The Rockers show),
CBC documentaries, Expo and the
more modestly publicized events.
We seldom stop to think how our society's
popular music evolved. Infiltrating the veneer
of North American pop, art music, and even
the classical genre, African music has been
exerting a heavy influence on western culture
since the American slaves merged their tribal
rhythms with European melody to produce the
blues, the spiritual, and jazz. Developing from
these were rock and roll, soul, Motown, funk
and disco. Imagine an African tribe performing their ritual dancing and drumming, add
a few guitars, synthesizers, amps, speakers,
6     DISCORDER to the beat
Karen Shea Explores The Possibilities
12 rows of stage lighting and place them on
a platform 10 feet above the first row of a
100,000 seat auditorium and see how much
progress they've made! Yes, we certainly have
wandered far off the track. We're running the
risk of de-humanizing music by diluting rhythm and by segregating the musicians from
the audience. But there have been successful
experiments that have revitalized the roots of
contemporary western music. For example,
David Byrne, XTC, Stewart Copeland, Jonathan Richman, Paul Simon, and locally, Them-
ba Tana, Chana, Omnisquid, Dido and the
Hand People, Djembe Bara, Andy Grafitti, The
Dangerous Farm Animals, The Beverly Sisters, Uhuru and others have either explored
the styles of African music or re-established
the importance of percussion as the basis of
their music. The point is that complex rhythms
are fun. This is why most dance instructors
insist on using live drumming to accompany
their classes. They naturally complement
each other—live African rhythms seem to
elate and energize the dancers while the
dance movements dictate and inspire the
drumming patterns.
Music and dance have always played an integral part in African culture more so than in
the Western world. Consequently, people of
African heritage dominate the percussion
field. In Africa, dancing, singing, and hand-
clapping are not reserved for only children's
games and Jonathan Richman concerts. They
learn at an early age that the audience is as
much a part of the orchestra as the musicians
themselves. Music and dance is their literature, their philosophy, their history and expression of the joy of life.
Drumming is essential to the African culture
because beat has a quality that physically
grabs you and draws you into the collective
stream—mesmerizing you, energizing you,
and stimulating your brain in a non-intellectual
and soothing way. If you dare consider music
and love to be the same thing, remember what
David Bowie says; "Love cleans the mind and
makes you free." What better role for music
to play?
The fact that people of African heritage have
an evolutionary head-start on percussion
doesn't mean that non-African folk don't have
the same potential. The key is to start learning and enjoying it now. Workshops are the
ideal situations in which to play the drums. It's
easier to keep time with the collective beat
than to your own pulse, especially if you're a
beginner. Jack Duncan teaches workshops
and private sessions specializing in the Senegalese rhythms that he has been playing for
ten years. He's currently leading the Djembe
Bara drumming ensemble whose appearances are usually as the featured accompaniments for dance classes and performances.
He has also injected local bands like the
Beverly Sisters and now the Dangerous Farm
Animals with a distinctive Afro-beat flavour. To
join his next workshop, contact Jack before he
leaves for Dakar, Senegal in March, where
he'll be studying under the master drummer
Dou Dou Rose, who you may have been lucky
enough to see at last summer's World Drum
Festival.
Also leading popular drum workshops in
Vancouver is Dido Morris of Dido and the
Hand People, Chana, African Heritage fame
(not to mention his earlier mainstream associations with Gino Vannelli, the Captain and
Tennille and Bruce Cockbum). His experience
covers the whole spectrum of percussion from
jazz to salsa to Watusi and Shango rhythms.
Dido leads drop-in workshops, private lessons,
as well as mobile drum workshops that bring
his collection of instruments and expertise to
your own space. He and his students were
responsible for those wonderful jamming sessions at Jericho Park every sunny Sunday in
the summer. Hypnotizing, meditative, funky.
Lastly, keep your ears open for the occasional visits to Vancouver from Babatunde
Olatunji from Nigeria via New York as well as
DECEMBER  1986 Sal Ferreras performs in and directs the Drum Heat Festival, November 27 thru
29 at the Cultch.
the Ochiami group from Ghana via Seattle.
They both teach dance, song, and drumming
workshops.
For those interested in rounding out your
dance class schedules or just spicing up your
nightclub techniques, Jenny Legon teaches
at Kitsilano Neighbourhood House a combination of modern and Afro-Caribbean move
ments for all levels. Roberta Meilleur conducts
one-day dance classes every month or so
featuring Djembe Bara African drummers. Her
high-energy program is heavily influenced by
African tribal dances which follow the natural
movements of the body with the highest intensity of emotion. Elisio Pitta is one of the
most accomplished private dance teachers to
grace this town. He is well respected in his
native country of Brazil and brings his knowledge of Latin, jazz and African dance to ambitious students at the Harbour Dance Place
on Hastings Street. If you'd rather just spec-
tate, you could see him perform in a multimedia show at Le Centre Culturel Columbien
December 10-13. The event aims at giving life
to the photographs of Eduardo Meneses using light, improvised music (perfomed by Gordon Durity, Ted Connelly, Rob Turner and
Eduardo Meneses) and, of course, with live
dance by Elisio Pitta along with Janis La-
Blonde, Monique Girard and Jay Hirabayashi.
Whatever you do, don't miss the Drum Heat
Festival happening at the Vancouver East Cultural Centre from November 27-29 (it could be
on as you read this very issue—so get going
now!) Three evenings of percussion and
dance featuring many of the names mentioned above plus Andy Graffiti, Sal Ferraras, Buff
Allen, Jim McGillveray, Oscar Nieto, Alejandro Ronceria, and many other local musicians
and dancers. Drum Heat will feature everything from Hot Salsa, Brazillian carnival improvisations, Latin Rhumba, jazz, electronics,
jamming to the Bata and the Afro-Cuban
rhythms of the premiering dance composition,
Y Fue Santero.
Sal Ferraras, artistic director and major percussionist of the Drum Heat Festival, was also
in part responsbile for bringing the World
Drum Festival to Vancouver this summer.
More than 100 international drummers con-
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DRAW WILL BE MADE JANUARY 1/1987 gregated at various locations on the Expo 86
site, which was a feat in itself. But more significantly, music lovers had a chance to get
a near-complete perspective of the cross-
cultural phenomenon of rhythm. Bu the finale
of the two-week festival, everyone was grooving together—Scottish Highland drummers
traded instruments with Pakistani Naqqara
players, and Balinese Gamelans interchanged with African Djembes. The festival was so
popular that after it ended, there was not a
drum for rent or sale in all of Vancouver. The
National Film Board sponsored the filming of
the rehearsals, performances, and interviews.
Rhombus Media of Toronto is producing a
documentary which is expected to be aired
on CBC next summer.
The World Drum Festival proved that African
cultures don't have a monopoly on drum
rhythms. Practically every culture bases their
music on percussion for very obvious reasons.
Everyone can relate because everyone has a
heartbeat. By opening up your senses to
music, it does reach your heart and satisfies
some of your emotional and aesthetic needs.
But for the participant, rhythm, movement and
expression satisfies all of your physical and
emotional needs and propels your spirits high.
Making your own music or movement engages your imagination far more effectively than
mere detached appreciation. Each personal
immersion into music and rhythm will help you
preserve your sanity and whatever cultural
heritage you think you might possess. Just
keep your priorities straight—play, play, play
that funky music!
DESSERT
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;    ^^ v Evenings from 6:00 p.m.
JW j EJ iLfl \    — cappuccino or cafe latte
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820 HOWE STREET   683-5122
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For Your Information:
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Drumming Workshops
Jack Duncan
tel. 984-2334
Dido Morris
tel. 731-5914
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•      Dance Classes
"So
CO CO
Jenny LeGon
tel. 736-3588
Roberta Meilleur
tel. 736-0898
Elisio Pitta                  Harbour Dance Place
I
DECEMBER  1986 from p. 11
Europe. That band was a lot of fun: people who
could enjoy the road and not fight it. That's a
rare breed in rock'n'roll.
There are plans to put that band back
together. Spedding is excited by the prospect
(his current LP,'The Enemy Within, had to be
made with his own money, and although recorded two years ago, has taken until now for
anyone to be interested enough to put it out).
As for other collaborators, Cale is not exactly
enthusiastic. His most recent record, Artificial
Intelligence, which was just released domestically, was co-written, but: "/ decided to call
it a day... I'm to account to people for their contribution, and it's a pain in the butt. I'd rather
do it all myself. Then I've only got myself tr
answer to. The album itself was pretty messy.
It was done in a rush. It had a different approach to the music; there were some really
relaxed tracks there, which was a relief, actually. But you have these very smooth tracks with
very volatile, nasty lyrics over the top. Which
really just undermines the whole kind of song
you've got. If I'd gone all the way and made
them really pleasant, probably the album
would've sold out. But there's a halfway house
there. You don't really go to one extreme or the
other."
Among Cale's most recent projects were the
score for the film, Something Wild. His major
concern, though, is a Dylan Thomas song
cycle based on four poems: "It's orchestrated
EDGE
1225 Homer
Friday Dec. 12th Doors Open 8 P.M.
with guests STUBBORN BLOOD and ON THE GO
advance $6 at Zulu or Track Records
ALL   AGES
Kitsilano, Carson Graham and Interschool Pregrad
DECEMBER  1986     12
for cathedral choir, piano, vocal, pedal steel
guitar, harps, and a 40- or 60-piece chamber
orchestra. It'll be televised as well. We're trying to record it and present it as a premiere
in October, so it's a handful. The songs were
written in '82 for vocal and piano, and they've
been that way until about a year ago, when I
sat down and orchestrated the whole lot. It
took a lot of gnashing of teeth, because I'm
basically idle and lazy. There's still some finesse to be put to it. I improvised it working on
a Kurzweil. But the way the arrangments really
came together was when I sat down and wrote
the thing out by hand. Then all the stuff I learned in school came back, and all the small detail
that goes into writing a score came in handy.
"There are symphonies I want to write, and
orchestral pieces. I've written three orchestral
pieces and a piece for piano and orchestra that
were on Academy In Peril. But I think those
are pretty derivative in one way or another.
IT SEEMS THAT THE MOST INTEREST-
ing thing about the future, to Cale, has to
do with the past, a past that points back
further than New York or rock'n'roll. He's been
living in New York for the past ten years, but
his eyes have perhaps increasingly looked
back over the ocean he first crossed over 20
years ago. The avant garde which brought him
there has been sleeping ever since: "It hasn't
reared its ugly head in the past 20 years. I think
because there's a particular scene which goes
along with all of that. You get a little revolutionary fervor among musicians. It's gone on
more in rock'n'roll than anywhere else. You've
got to have your theoreticians for it, your followers, and your leaders, and everything else.
Frankie Goes To Hollywood is what's been going on, and I'm not going to be a follower of
that. There are built-in limitations to electronic
instruments; you really get very tired of them.
Even a pipe organ wears thin after a while. An
orchestra has far more subleties and nuances
available. I know what I'm basically cut out to
do in music, and that's to be an orchestral
writer. I just have to follow my own instincts."
Hasn't it been a long way around to being
an orchestral writer?
"Well, I had a lot of fun. You've got to have
some fun in your life."
—Don Chow A CITR/DISCORDER FUNDRAISER
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14     DISCORDER An Elemental Evolution
THE FIRST TIME I HEARD THE
term hunters and collectors was inp
an Anthropology 200 course, refer-|
ring to one of the most primitive!
states of human development along the theory|
line of evolution. Hunters and collectors were|
those nomadic predators and scavengers who|
scoured the earth in search of subsistence/"
themselves often falling prey to the vagaries!)
of the elements. In some respects, the circumstances of existence have not changed a great!
Ideal; predators and scavengers populate the!
urban landscape today as they did the wild|
Earth thousands of years ago. The instinct fori
survival is the fundamental motivation; whetherj
one hunts or collects to survive is a matter of§
adapting to the given circumstances. With this|
notion in mind it becomes clear to me why anl
Australian rock'n'roll band which professes tol
play raw and elemental music, and to express!
emotion in its most basic form, should choose!
to call themselves Hunters and Collectors.
Mark Seymour is the_ uncommonly astutel
spokesman for Hunters and Collectors. Sol
often when rock'n'roll musicians speak to the!
press, their careless words tend to detract!
from any of the power their music might pos-(
sess. This is not the case with Seymour; hel
represents the group to its advantage and is|
careful to elucidate the ideas which have in-f
spired the development of Hunters and Col-|
lectors since its inception in Melbourne, Aus-j
tralia over five years ago.
In a recent conversation with CITR's Stacey!
|Fruin, Seymour explained the birth of the!
Iband and its subsequent growth. . . 'Wel
^started out as a funk ensemble with a very big\
kband—about 10 people, with brass and per-t
\cussion. We got to be quite successful in a veryM
%short period of time in Australia. But that ledI
%us to become set up too quickly for our ownm
mood, and we went to England for six months\
|and were a bit young for it."
CITR listeners might remember first hear-l
(jing Hunters and Collectors in 1982 with the!
Isingle release of Talking To A Stranger. The!
|group signed with Virgin Records and while!
presiding in the UK passed through a creative!
Jow point which led to losing a third of its!
Joriginal members. This was a result of basic!
^differences between rock music traditions in!
Jthe UK and in Australia, and the fact that!
^Virgin did little to support the group on tour,!
San aspect of the business of making music!
|that the record company did not find relevant!
Seymour stresses the live performance as j
^being the source of the ideas and energy!
|which inspire and propel Hunters and Collec-I
Stors. So what is it that makes it so good? "Well, f
tit's mainly because it (the live show) comesM
^across as being very emotionally intense. /f'sl
knot dynamic in the visual sense—we don't real-\
\ly approach it like a pop band. It's like one j
^groove for about an hour and a quarter—yout
Mean get right into it. We work on the process*
tof seduction rather than having an 'over-the-m
}top' light show, that works counter to how mostm
\ bands are great live." cont. p. 161 from p. 15
HUNTERS AND COLLECTORS ARE
a great live band, as anyone who
witnessed their rock'n'roll powerhouse performance at Club Soda October 30
would attest to. Yet Seymour's claim to being
"emotionally intense" sometimes comes
across as merely "method over-acting." With
bulging forehead veins and arm muscles, one
gets the impression that Hunters and Collectors are trying just a bit too hard. Nevertheless,
Seymour apparently did pop a blood vessel
in his nose while performing live at Casey's
in Richmond the previous evening; something
must be going on up there.
Hunters and Collectors are currently touring small venues in North America to support
their first domestic album release on IRS/MCA
Records, Human Frailty. Seymour talks about
the new album: "...we thrive on adversity. Our
music is about struggle of one kind or another;
the record works on its own level. It's about
a relationship between a man and a woman
and it changing over a long period of time. The
songs in a way are landmarks in the process.
Generally speaking, that is what the record is
focussed on. It's like a story with a beginning,
a middle, and an end, which is much like the
way our live set works."
After a tumultuous recording career and experiencing various growth pains, Hunters and
photos by John Scully
John Archer and Mark Seymour of Hunters & Collectors
Collectors are stripped to the bone and ready
to go. With Human Frailty, they've reached a
compromise that they seem to be very comfortable with inasmuch as it symbolizes the
power of their music, both emotionally and
physically. They've managed to achieve this
position by keeping their instincts intact and
by refusing to fall prey to the vagaries of the
rock'n'roll element.
—Mr. Ed
16     DISCORDER
=&=, Play That Funky Music, White Boy! Michael Waters Struts His Trumpet for Hunters & Collectors.
photo by John Scully
VIDEOMATICA INVITES YOU
TO MEET HANIF KUREISHI
AUTHOR OF  MY BEAUTIFUL LAUNDRETTE'
VIDEO
RELEASE
PARTY
AT
GRACELAND
1250
RICHARDS ST.      ,
-REAR
TUES.
DEC. 2
8 PM
BEAUTIFUL
■ laundrette
'LAUNDRETTE'
VIDEOCASSETTE
DOOR PRIZE
rMCA
HOME VIDEO
NOW AVAILABLE AT
SALES
RENTALS
1829 WEST 4th AVE. AT BURRARD  734-041
AFTERIMAGE
Photo Service
72 West Cordova Street
687-6811
DECEMBER   1986      17 *n Bad Detective
YOUR HA'R.
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2600 W. 4th 732-6331
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bod.  :£'</ "»+•
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/VO+ tvtr\ a  arubby
utile -pitc^ of
dWorcc tOorfc..
18      DISCORDER TOWN
PUMP
Monday December 1
Rhythm Pigs with Skinyard
Tuesday Dec. 2 - Saturday Dec. 6
ZYDECO MUSIC: TERRANCE
SIMIEN & THE MALLET
PLAYBOYS—"One of the most
explosive new bands from
the bayous of Louisiana"
Monday December 8
_CAMPER VAN BEETHOVEN with.
Mojo Nixon & Skid Roper
Tuesday December 9
YOUNG FRESH FELLOWS
Wednesday December 10
WEA recording artists
The Unforgiven with Lost Durangos
Thurs. Fri. Sat. December 11-12-13
Poisoned
Sunday December 14
Winter Collage Fashion Show
Monday December 15
DR. JOHN
Tuesday December 16
Amanda Hughes
Wednesday December 17
Go Four Three Record Release Party
Thursday December 18
Go Four Three
Monday December 22
Benefit for the Empty Stocking Fund
Fri Sat. Sun December 26-27-28
-The 3rd Annual Independent—
Music Festival
66 Water Street
Gastown • 683-6695
Tues. Dec. 2 - Sat. Dec. 6
WEA recording artists
Idle Eyes •
Sunday December 7
Amanda Hughes and
The Pride
Thurs. Dec. 11
Paradox
Thurs. Dec. 18 - Sat. Dec. 20
R & B All Stars
Mon. Dec. 22 - Wed. Dec. 31
Juan Irak
Watch out for
Marti Jones and
The Payolas in
December —
dates to be
confirmed.
CLUB SODA
681-8202
HBII
1055 Homer
DECEMBER   1986      19 IN SEARCH OF THE CRUCIALGROOVE
Left to right, Kerr Belliveau, Paul McKenzie, Ralph Allan and Jimmy Green.
WHO, WHAT, WHERE AND WHY
are the Guttersnipes? Just a
hot little combo so new to
the Vancouver scene that they're not
even out of their diapers yet (speaking in a band sort of way). Led by
former sax howler for the departed
Enigmas' Paul McKenzie, the Guttersnipes are boldly preparing themselves for the rigourous road up the
brutal pathway to rock n' roll notoriety. When I first met these lads I was
impressed by the way they bummed
cigarettes off me before the questioning had even begun. First in line for a
token of my nicotine generosity was
drummer Kerr Belliveau who can
claim two immortal achievements in
his all too brief life thus far. Firstly,
he came to the Guttersnipes via the
Little Rat Skulls and a short stint on
the drum stool as a member of, oh my
20      DISCORDER
God, D. fuckin' O.A. What happened
to end that distinction? "I got kicked
out," says Kerr, refusing to come to
the point. It didn't matter though
because even while he reeled from
the shock, the Snipes were coming to
life elsewhere and soon they'd be
calling upon his bashing services.
His second claim to fame, incidentally, is that he is a distant cousin of
that other Belliveau, Jean. I kid you
not. Anyway, after the Enigmas had
gone to that great psychedelic
freakout in the sky, McKenzie had
phoned guitarist Jimmy Green "almost immediately" and the pair
began sitting around writing material
and complimenting each others'
hairstyles. Realising that most great
rock n' roll bands needed a bassist
and drummer to really get groovin',
Ralph Allan, another ex-Little Rat
Skull, was brought in and the foursome was complete. Let us, however,
examine another aspect of what went
into the formation of the Guttersnipes, namely what happened to
the much-loved, sorely missed and all
around absent Enigmas?
Paul McKenzie draws a deep, contemplative breath and begins, "I don't
want to talk about it." Stunned by his
refusal to spill the beans, I threaten
legal action and the real story starts
to unfold.
"We just looked at each other one
day while rehearsing and said to
ourselves, we'd rather be working on
our bikes. We couldn't do the amount
of drugs we wanted and be a band so
we ended up just doing the drugs."
And thus ended four years of
Enigmatude. On to the present.
cont. p. 22 CHANNEL
860 DENMAN
•VANCOUVER
9 PM -2 AAA   MON.-SAT.
669-3448
MONDAY 1ST
Joe Bjornson and Chafk Pumwirz Band
DECEMBER   1986     21 4l II < Ife
M     I  * • THEATRE * •  I     Bb
16th & Arbutus 738-6311
DEC. 5 - DEC. 11
THE    dP%, 1986
INTERNATIONAL
ADVERTISING
FILM FESTIVAL
The best of television advertising
gathered from around the world.
Interesting, often hilarious and
definitely very entertaining.
7:30 & 9:30
*Oo A MARV NEULAND
<V PRODUCTION
LUPO BUTCHER!
7:30
DEC. 12 - 14
9:30
MONA „
i ica      Starring
LISA BOBHOSKINS
NO
SURRENDER
7:30
DEC. 15■ 18
9:30
HEARTBURN
AK\     JACK NICHOLSON
^        MERYL STREEP
DEC. 19-23
9:30
RUTHLESS PEOPLE
DOWN & OUT IN
BEVERLY HILLS
Happy Holidays from the staff at The Ridge.
We will be closed on December 24th & 25th.
from p. 20
The Guttersnipes began jamming
together and soon a sound began to
take shape, "sort of like white street
gutter rock meets James Brown."
Songs like She's Hot and King Tut
Ching in the Eye joined Alice Cooper
and Lords of the New Church covers,
and a set was born. The first real test
of the group came on a tour across
Canada and the eastern United States
with D.O.A. where the Guttersnipes
drew enthusiastic responses and a
record executive in Winnipeg who actually "stayed for the whole set."
This, presumably, with only a few
trips to the washroom to shake hands
and snort cocaine.
Coming back to Vancouver with accumulated touring profits of enough
to get a two-for-one pizza, the Guttersnipes opened for D.O.A. once
again at the Town Pump and are now
eagerly awaiting the opportunity for
more shows. The group likes to think
of itself as apolitical, more interested
in providing the soundtrack for nights
of wild partying and mayhem, trying
to shed the image of an 'alternative'
or 'underground' band and simply be
accepted on their own merits as a
rock n' roll group.
As a final word on this bands' insights and wisdom, let main
mouthpiece Paul McKenzie explain
why guitarist Jimmy wears striped
tights which look like Spandex but
are in fact wool knit:
"You see, if there was an explosion
in the steam room of a ship, anyone
wearing Spandex would have it melt
right into the pores of their skin and
could possibly die of suffocation,
while Jim would escape with second
degree burns, maximum."
Yeah, alright Paul, but wouldn't the
wool shrink and possibly break both
his legs.
—Eric Hon &djlippMi
12.      DISCORDER ^TAMAHNOUS THEATRE^,
PRESENTS
neveiiand
THE ADVENTURES OF PETER PAN & WENDY
By Patricia Ludwick
A co-production with EDAM
MUST CLOSE JAN. 4
Fireball Theatre 280 E. Cordova
Reservations 689-0926
Brides
in Space
by Peggy Thompson
"a zany high tech-
tow tech intergaiactic
comedy"
for a   <$o&d *kime   call
CVXR Mobile Soun</ frhey77 play
yW J
DECEMBER  1986     23 books of T¥E ROW HWW*
A Great $10 Gift Idea!
$10. and $20. Booklets
19th INTERNATIONAL TOURNEE OF ANIMAT
THE 1 9th INTERNATIONAL TOURNEE OF
We are proud to present for your enjoyment the most honored and
entertaining collection of animation ever assembled.
All 20 films will show at each performance (Total running time:  112 minutes)
ANNA AND BELLA (743)
Borge Ring The Netherlands
Academy Award Winner 1985
Best Animated Short
BOTTOM'S DREAM
John Canemaker
Best Director,
ASIFA East Awards
Special Jury Award,
Annecy Animation Festival
1
OLYMPIAD OF ANIMATION
'5:14)
Four of the best films produced to
commemorate the 1984 Olympics.
INTERMISSION
) Indicates running time of film
BITZ BUTZ
Gil Alkabetz
Special Award Winner
(3:03)        ROMEO & JULIET (1030)       CONVERSATION PIECES:
Israel Dujan Petricic Yugoslavia        EARLY BIRD (5:03)
Banc Titre Award (Funniest Film), Peter Lord/David Sproxton       U.K.
Annecy Animation Festival Special Jury Award/Technique,
L.A. Animation Celebration
THE BIG SNIT (9:50)
Richard Condie/ Canada
National Film Board of Canada
Academy Award Nominee '85
Best Animated Short
CHARADE
John Minnis
(4:49)
Canada
Academy Award Winner,
Best Animated Short
ALL AGES ADMITTED
Studio Cinema
SCHEDULE OF PERFORMANCES
& ADMISSION:
DAILY AT 2:00, 4:30, 7:15 & 9:40 p.m.
(including Boxing Day, New Year's Eve & Day)
Christmas Day performances at 7:15 and 9:40
ADULTS $5.50
CHILDREN (12 & under) and SENIORS $3.00
TUESDAYS ALL SEATS/ALL DAY $3.00*
A SPECIAL PRESENTATION.
NO COUPONS OR PASSES ACCEPTED.
D0WNT0WN-919 GRANVILLE (at Smitt ftiTfffil 9^    G'FT TICKETS
NOW ON SALE
SHOWING EVERY FRIDAY & SATURDAY MIDNIGHT at the    Studio <?in*m&
ION'  OPENS EXCLUSIVELY FRIDAY. DEC. 19
This year's program consists of 20 award-winning short films carefully chosen
from over 750 titles screened at festivals around the world.
The most honored and entertaining collection of animation ever!
SIGMUND
Bruno Bozzetto
Second Prize,
Hiroshima Animation Festival
(4:50)
Hungary
Special Jury Award.
Toronto Animation Festival
First Prize Winner,
Zagreb Animation Festival
TONY DE PELTRIE (750)
P. Lachapelle, P. Bergeron, Canada
P. Robidoux, D. Langlois
First Prize Winner,
L.A. Animation Celebration
cssa            <--x^~
/fe\i®<&«#
2L^1T
/*.           A A""*-
Special Jury Award/Scenario,
Annecy Animation Festival
JUMPING
Osamu Tezuka
Grand Prize Winner,
Zagreb Animation Festival
(6:12) MOA MOA
Japan Bruno Bozzetto
Special Award Winner
(1:10) VINCENT (5:54)
Italy Tim Burton/Rick Heinrichs       USA
A Walt Disney Production
Gold Hugo/Best Animated Short,
Chicago Film Festival
Tickets available at the door or from advance ticket box-office.
ADVANCE TICKET BOX-OFFICE &
CHARGE-BY-PHONE TICKETS
OPEN DAILY
1:30-9:30 p.m.
CALL 681-3847
(CHARGE BY PHONE MININUM $11)
TICKETS SOLD FOR SPECIFIC PERFORMANCE & DAY ONLY
*$3.00 TUESDAYS TICKETS AVAILABLE AT THE DOOR ONLY -NO ADVANCE SALES
A SPECIAL CHRISTMAS
HOLIDAY ATTRACTION
FOR THE ENTIRE FAMILY
OPENS FRIDAY, DEC. 19th
ADVANCE TICKETS
AVAILABLE FOR
ALL PERFORMANCES
Dec. 19 thru Jan. 4th
♦EXCEPT $3.00 TUESDAYS
THE 19th INTERNATIONAL
TOURNEE OF ANIMATION
24 HOUR INFO CALL 681-1732
Studio Cinema *;?jrfi
11st Prize
24 hrs. Recording Time
24-frack at Mushroom Studios
B & W Music Video from
Zeitgeist Video Productions
2nd Prize
24 hrs. Recording Time
16-track at Bullfrog Studios
3rd Prize
24 hrs. Recording Time
8-track at Scaoe Studios   .
-and —
a D330 BT Microphone
from Commercial Electronics^
ts
os,ul1 Hey kids, it's time le play
Win big
with
Shindig
Date: November 10,1986
Agent: Julia
Target: Oversold Seven
November 10th, the second Shindig Semi-
Finals at the Savoy. Bruised and Stupid,
Oversoul Seven and More Uncle Stories
were slated to play, but as fate would have it,
Bruised and Stupid's drummer quit, so they
cancelled and FYF (Five Year Fuck) played
in their place.
FYF were up first. They were quite a bit better than the first Shindig they played on October 5th, but I guess they were better only
because this was their third gig. FYF, who
have only practiced once (but played twice),
consists of Bill Kipper on percussion, Chris
Grove (from the Jazzmanian Devils) on sax,
Dave Mcintosh on vocals, Dave Montizambert
on drums, Dave Simpson on guitar, Dave
Tanaka on bass and Roger Nay on synth. FYF
are a somewhat oracular band; when I interviewed them right after they played, they said:
'We're not going to win. We have a little bit too
much truth. You can't win with truth. You're on
the road to oblivion." But because FYF aio
mostly into "art and Jesus" and they don't
want to be "too Vegas," they didn't seem too
upset with third place.
More Uncle Stories were up next: Barry
Lister is the lead singer, accoustic guiiansi
and spokesman for the band, Craig Brown is
on bass, Michelle Mailloux on backup vocals,
Ian Mcdonnell on drums, and Darren McClain
on lead guitar. They told me that they wanted
to be "refreshingly original," that they liked to
play live," and that they "live to play." Craig
Brown told me: "I love the Savoy," and that the
band all hails from Maple Ridge, except for
the guitarist, who lives in Port Coquitlam. At
that point, Barry Lister entered the interview.
He seemed quite concerned about whether
or not I'd got the right idea about the band's
philosophy. He straightened me out by telling
me stuff like, "Society isn't such a bad place
to be," and that "Punk is too 'fuck you.' " Conversely, More Uncle Stories is into "some
thing everybody can relate to," not like The Bill
of Rights or The House of Commons. "Punk
has been destroyed," it was "meant to make
a statement on society." So with a name like
More Uncle Stories I guess the band is into
the continuation and rejuvenation of society.
They came in second.
Oversoul Seven won and will go on to the
Shindig Finals on December 15. They consist
of Len Morgan on bass, Adam Stephen Gejdo
is lead vocalist, and Darrell Shibley on drums.
They've been together since February and
plan to "spread the gospel" and to be as good
as possible. I think these are commendable
ambitions and I also think that the band may
even come to realize them. They played a really good set on November 10 and are all competent musicians. Oversoul Seven are influenced by "lots of different stuff" and funk. You
can see them for yourself on December 15
with Stubborn Blood and the winners of the
last Semi-Finals on December 8th.
DECEMBER  1986     27 Through The Eye of The Lens!
John Scully Shoots The Stage
-^—P
?5SU
Screaming Blue Messiahs
V ~r.
*%t
Bill Carter's shaved skull glistened with sweat as he spun and machine-gunned his raw
and worn guitar above the heads of the slam-dancing audience. The Screaming Blue
I Messiahs' raucous R&B tunes had the crowd hopping, at times head over heels onto
j the stage. As Carter pumped out his frenetic energy, his dark eyes peered upward with
a far-away look. Drummer Kenny Harris savaged his skins relentlessly while bass
player Chris Thompson put out his pent-up energy through constant controlled
playing. The Screaming Blue Messiahs gave the audience what they wanted: a chance
to scream, shout and slam-dance away the night. A CITR presentation/Timbre
production at the Town Pump.
V."= - ■:■
/y
1P& riM:"
.0?
Beat Farmers
$
Raunchy country rock, San Diego-style is what the hard-driving beer-slurping Beat
( Farmers served up to a hooting crowd at the Town Pump, November 3. Jerry Raney
and Joe Harris rocked the stage raw with songs like "Deep in the Heart of Texas" alii
about livestock relations in the South. Country Dick Montana frequently stood up
} from his drum set to display his beer-guzzling techniques and acrobatics. He deliveredl
his rocking songs like "Ball o' Yarn," while swaggering and swaying on the railing of \
the balcony. Yet another CITR presentation/Timbre production.
V"*
• - i
Nick Cave
Cynicism and frustration oozed out of Nick Cave with every wordTand "gesture. He
was almost always hidden behind a mop of stringy black hair which he occasionally
pulled back to reveal a mournful face. The blackness of his expression was mirrored in \
the faces of his followers who packed tightly around the stage on the eve of
Halloween at the Town Pump. Another CITR presentation/Timbre production.
DECEMBER   1986 Hail! Discordia
Help spread discord around the globe by taking this "sassy and irreverent" publication with
you on your travels. If you are leaving town for
good or just jetsetting to exotic locales, why
not take a group of Discorders along and
deposit them at the coolest establishments in
the city of your choice, whether that be Prince
George or Mombasa. Give Harry Hertscheg
a call at 228-3017 to arrange for your Discorder
care package. You'll feel much better for it.
Hi. I'm the ART DIRECTOR and I'd like to personally invite you to submit drawings and cartoons to the DISCORDER, and, hey, after we
stop laughing, we'll probably use them. Thank
you.
Help Wanted
See the city! Meet new people! Earn job satisfaction and some money! Discorder is looking for an Ad Sales rep to play an integral role
in keeping the publication in the black. Robin
Razzell has done a stupendous job in this
capacity for the past year, but she has recently
announced her resignation after realizing that
too much of a good thing is not enough. We're
looking for someone who is lean, energetic,
and self-motivated. Car and antacid tablets are
optional. Call Harry Hertscheg at 228-3017 for
more information.
Lend An Ear
CITR and Discorder are proud to present the
Third Independent Music Festival to be held
at The Town Pump, December 26 to 28..What
Other CITR presentations:
Dec. 2 CITR's Heavy Metal Show Power-
chord presents Saxon at the New
York Theatre.
Dec. 4    Shriekback with guests Tupelo
Chain Sex and the Groovaholics
at the Commodore.
Dec. 5    CITR'S Folk Show The Edge on
Folk presents Billy Bragg and
Spirit of the West at 86 Street.
Dec. 10  Kate & Anna McGarrigle at 86
Street.
Dec. 12  New Model Army at 86 Street.
Dec. 19  CITR's Heavy Metal Show Power-
chord presents Metallica and
Metal Church at the PNE Mini-
Stage.
better way to spice your holiday season than
with the opportunity to see and hear some of
Vancouver's best original groups perform
under a banner of solidarity. The groups have
yet to be announced, but you can bet the bill
will include those independents well known
to give to their audience their wherewithal and
more. Buy Vancouver, and partake in the Third
Independent Music Festival. Stay tuned for
further details.
hoco to obtain instant
Fame and glory.
Bring in or mail this form with $30 to
CITR Radio
6138 SUB Boulevard
UBC Campus
Vancouver, B.C.
V6T 2A5
name.
address.
In addition to the respect you will
command from ordinary mortals, you
will receive:
T-shirt
2 CITR buttons
Training manual
Phone Harry at 228-3017
for more info.
phone #.
student #_
...become a CITR member £pc
U list-
 CITR f m 102 cable 100	
TOP AIRPLAY ALBUMS
ARTIST
TITLE
LABEL
•Cowboy Junkies
Whites Off Earth Now
Latent
•Fishbone
In Your Face
CBS
•Talking Heads
True Stories
WEA
•Herald Nix
The Fugitive Kind
East Side
•Big Audio Dynamite
No. 10, Upping Street
CBS
•Billy Bragg
Talking With The Taxman
MCA
•Shriekback
Big Night Music
MCA
•Elvis Costello
Blood & Chocolate
CBS
•The Stranglers
Dreamtime
CBS
•African Head Charge
Off The Beaten Track
On-U Sound
•Skeleton Crew
Country of Blinds
Recommended
•Last Exit
Last Exit
Enemy
•This Mortal Coil
Filigree & Shadow
Polygram
•Various Artists
Raging Sun
Rouska
•Iggy Pop
Blah Blah Blah
A&M
•The Chameleons
Strange Times
WEA
•Hunters & Collectors
Human Frailty
MCA
•Bad Brains
I Against I
SST
•Nick Cave
Kicking Against the Pricks
Homestead
•Afrika Bambaata
Beware (The Funk is...)
Tommy Boy
TOP AIRPLAY SINGLES
ARTIST
TITLE
LABEL
•NoMeansNo
Dad
**Demo**
•The Hip Type
Let Me In
**Demo**
•The Men They Couldn't Hang
Shirt of Blue
MCA (UK)
•Xmal Deutschland
Matador/4
Phonogram
•The Waterwalk
It's Shifting
**Demo**
•Celebrity Drunks
Beef March
**Demo**
•Current 93                        Happy Birthday Pigface Christus
Laylah
•DJ Jazzy Jeff & Fresh
Girls Ain't Nothin' But
Champion
Prince
Trouble
•New Order
State of the Nation
Polygram
| «23 Skidoo
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"A DISCORDER
Advertising Representative?
ME ??"
Gosh, yes! If you're energetic, outgoing and
interested in a challenge, you could be just the
person we're looking for! Please give us
a call.. .an exciting new career is waiting for YOU!
228-3017
i
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book or record-
can't decide ?
come +o
albion books
hucL\re. ba±Ji: cj.uuall'ty
albion books
523 Richards St.
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HEART AND SOUL
PSYCHIC CENTRE
Astrology and Tarot Readings
Crystals, Books, Videos, etc
2951 West 4th Avenue
Open Noon till 8 p.m.
Closed Mondays
736-7767
DECEMBER   1986     31 QN-M
WEEKDAY REGULARS
7:30 am    Sign-On
8:00 am    BREAKFAST REPORT
News, sports and weather followed
by GENERIC REVIEW and
INSIGHT.
10:00 am MORNING NEWS BRIEF
News, sports and weather.
1:00 pm    LUNCH REPORT
News, sports and weather.
3:00 pm    AFTERNOON NEWS BRIEF
News, sports and weather.
5:00 pm    DINNER MAGAZINE
News, sports and weather followed
by GENERIC REVIEWS, INSIGHT and
a DAILY FEATURE.
4:00 am    Sign-Off
AT UBC
8:30 am, 11:30 am, 4:00 pm, 7:15 pm
CITYSCAPE CONCERTS & CLUBS
9:00 am, 2:30 pm, 7:45 pm, 11:55 pm
CITYSCAPE MOVIES & THEATRE
9:30 am, 2:00 pm, 7:30 pm, 11:55 pm
CITYSCAPE TONIGHT
12:30 pm, 4:30 pm
recorded in mid-1957 by one of the
most compelling bands that Mingus
ever led. A musical statement of a
trip to Tijuana during one of
Mingus' "blue periods." A musical
masterpiece!
08 Dec.  Our Man In Paris by Dexter Gordon
is one of his best records. Dexter
Gordon, of course, is the star of
Round Midnight, one of the best
Jazz movies ever. Hear him in Paris
with Bud Powell, (who the movie
was dedicated to), Pierre Michelot
and Kenny Clarke. Recorded in
1963 while saxophonist Dexter
Gordon was a resident in that city.
75 Dec.  Batik by guitarist Ralph Towner is
his most profound recording...he is
featured on 12-string, classical
guitar and piano playing his own
compositions. Towner is backed by
Eddie Gomez on bass and Jack
Dejohnette on drums.
22 Dec. One of Miles Davis' most important
recording dates took place on
Christmas Eve 1954. A great all-star
session that influenced the music
for the next 32 years. Miles with
Milt Jackson, Thelonious Monk,
Percy Heath and Kenny Clarke.
Enough said!
29 Dec. Rudolph Johnson is a name
unknown to most Jazz listeners
(even the experts). He has only
made two albums under his name
and Spring Rain is his best.
Rudolph plays tenor saxophone and
combines John Coltrane with the
earthiness of Johnny Griffin but
doesn't sound like either of them.
He currently tours with Ray Charles
but gets one solo a night. We'll hear
his compositions and his great
sound on this long out-of-print
record.
WEEKDAY HIGHLIGHTS
MONDAYS
MORE DINOSAURS
8:00-9:00 pm
Songs of the Sixties behemoths and the
teenage garage triceratops.Archaeology by
Marc Coulavin.
THE JAZZ SHOW
9:00 pm-12:30 am
Vancouver's longest-running prime time Jazz
program, featuring all the classic players, the
occasional interview, and local music news.
Hosted by the ever-suave Gavin Walker.
01 Dec.   "This is the best record I ever
made..." Charles Mingus states this
when this album called Tijuana
Moods was released in 1962. It was
32      DISCORDER
TUESDAYS
THE EDGE ON FOLK
8:00-9:30 pm
Vancouver's only Prime Time radio show
featuring traditional music from around the
world. The emphasis tends to be on the
"Rogue" edge of the folk scene, but there is
usually time to squeeze in stuff for the
purists out there too.
BUNKUM OBSCURA
9:30-11:00 pm
An eclectic mishmash of audio disturbances
playlist and requests presented by a former
circus entertainer who was fired from the
cannon one too many times.
LOVE PEACE AND VIOLENCE
11:00 pm-1:00 am
Imagine phone books that drip blood when
you try to tear them in two, empty plastic garbage pails that smell of blind rabbit flesh,
empty skulls all piled up and arranged in
rows like hedges near the Parliament
buildings. Imagine radio that is past not caring. Imagine words so complex it takes three
grown men to pronounce them. It's later than
you think.
PLAYLOUD
Late night 1:00-4:00 am
There is no art without apparent madness,
without apparent contradiction. One freed
from any consoling preoccupations, art opens
up wide the territory of psychosis. Aural
surgery performed by Larry Thiessen.
WEDNESDAYS
WE BE BOTANISTS
10:30 am-1:00 pm
Join Florists Grant, Dave and Byron as they
unearth toxic tunes that will surely decimate
all plant life in the Lower Mainland.
RODNEY RATFACE AND...
1:00-3:00 pm
Flashback 'zak (all the way to 79/80 or so).
No requests please; only "good" music is
played here.
THE WAILING MUMBLEFUCKS
3:05-5:00 pm
"Interviews" and new(est) releases by/with
local bands and/or otherwise. So there.
ROCK: THE UNDERWORLD
6:00-8:00 pm
Digest your din-din in rockin' style. Mike
Dennis and the godfather (Jimmy Pattison Jr.)
spin the latest and hippest in the rock 'n roll
underground. A typical desert may feature
Husker Du pudding or Sonic Youth cheesecake, and don't forget from 7:30-8:00, we
feature the "helfire club" when we play all
the cool classics, from acid rock to rockabilly
to punk.
THE AFRICAN SHOW
8:00-9:30 pm
Catch the latest in African news and Music
with Umerah Patrick Onukwulu and Todd
Langmuir. News at 8:30. Special feature
weekly at 9:00. Onward-Harambe.
ARE YOU TALKING TO ME?
9:30midnight
Music and paranoid delusions. Twenty-minute
workouts for marginal psychotics. Travis B.
delivers music for people with an attitude
problem.
THE KNIGHT AFTER
Midnight to 4:00 am
Music to clobber Yuppies by (and anyone
wearing floral baggy shorts). Featuring radio
shows traded with alternative stations in
Europe and the U.S., and every 5 weeks a
new episode of MUSIC FROM THE TAR PITS, an ode to early seventies recreational-
substance rock. Regular guests include
MOAMMAR K., the Prince of Wales and
Lyndon Lerouche.
THURSDAYS
PARTY WITH ME, PUNKER!
3:00-5:00 pm
Join Rock Action and Crusty Love for cool
tunes and special guests and features.
TOP OF THE BOPS
8:00-9:00 pm
The boogie disease, that great shaking fever,
the rockin' pneumonia and the boogie
woogie 'flu... and other afflictions: their
symptoms and their causes. Rock therapy by
Marc Coulavin.
TEENAGE TORPOR
9:00-11:00 pm
It's not angst, and it's not too much cider.
Tune in to find out just what it is.
MEL BREWER PRESENTS
11:00 pm-Midnight
The universe continues to decay, and there is
nothing we can do to stop it! Mel, however,
will continue to bring you the best in local
music interviews, so ignore Joan Rivers one
night a week and join Pat, Jay and Ian for
radio like nothing else in the free world.
Remember, no spitting or foul language.
Pat's mother is listening.
FRIDAYS
FRIDAY MORNING MAGAZINE
7:30-10:30 am
Host and researcher, Kirby Scott Hill.
TRIBES AND SHADOWS
10:30-11:30 am
An anthropologically based, multi-media
show focussing on indigenous music, high
tech, and psychodramatic themes. Hosted by
Kirby Scott Hill.
CRAPSHOOT
5:30-6:00 pm
Members of UBC's Progressive Conservative,
Liberal and N.D.R clubs discuss federal,
political issues. Moderated by Stephen Gold.
THE COCKTAIL PARTY
5:30-8:00 pm
Mike Mines & Robin Razzell invite you to a
world of bibulous pleasure via the newest
psychedelic sounds from both sides of the
pond. Just add ice and shake.
POWER CHORD
8:00-9:30 pm
Vancouver's only true metal show, featuring
the underground alternative to mainstream
metal: locaj demo tapes, imports and other
rarities, plus album give-aways.
THE B!G SHOW
9:30 pm-midnight
Elevate your BPMs with Robert Shea and AI
Big. And shine your shoes, for God's sake.
79 Dec.    The Latin Large Show X-Mas
Special! Bardo Bladez and Ricardo
Rivera, the slickest DJs in Latin
America, join The Big Show to
wish you a feliz navidad y prospero
ano nuevo.
THE VISITING PENGUIN SHOW
Midnight-4:00 am
"Paula, have you heard of The Bonzo Dog
Band?"
"Uh, I think that's Banzai Frog Band, Sheri.
Why?"
"It's a request."
"We take requests?!?"
"Yes."
"Oh, so that's what we do."
Tune in and call us.
WEEKEND REGULARS
SATURDAYS
7:30 am   Sign-On
Noon       BRUNCH REPORT
News, sports and weather.
6:00 pm  SATURDAY MAGAZINE
News, sports and weather, plus
GENERIC REVIEW, analysis of current affairs and special features.
4:00 am   Sign-Off
AT UBC
8:40 am, 12:40 pm
CITYSCAPE MOVIES & THEATRE
9:00 am, 1:30 pm, 7:00 pm
CITYSCAPE CONCERTS & CLUBS
9:45 am, 1:50 pm, 7:45 pm
CITYSCAPE TONIGHT
5:00 pm
SUNDAYS
8:00 am   Sign-On
10:00 am VANCOUVER NEW MUSIC
CALENDAR
Noon       BRUNCH REPORT
News, sports and weather.
4:00 pm   AT UBC
5:00 pm   CITYSCAPE TONIGHT
6:00 pm   SUNDAY REPORT
News, sports and weather, plus
GENERIC REVIEW, analysis of current affairs and special features.
4:00 am   Sign-Off
WEEKEND HIGHLIGHTS
SATURDAYS
EARLY MUSIC SHOW
7:30-10:00 am
Have breakfast to music from the Medieval,
Renaissance and Baroque periods, played on
strange and exotic instruments. With host
Paul Smith.
NEOFILE
Noon-4:00 pm
A rundown of the newest, most exciting and
insipid releases raked in during the week at
CITR. Join music directors and charismalep-
tic hosts Don Chow and Kevin Smith for an
eclectic musical pig-out, with occasional interviews, live mixes, and peripheral relevance.
PROPAGANDA!
6:30-9:00 pm
An eclectic mix of interviews, reviews, music,
humour, High Profiles, and other features
with Mike Johal.
TUNES  R' US
Late night 1:00-4:00 am
It's a brand new season!!!!!
•All new music
•New runners and shirts
•New haircuts
•New hosts!!!!!!!!
SUNDAYS
MUSIC OF OUR TIME
8:00 am-Noon
With your hosts Tyler Cutforth and Paul
Smith.
ROCKERS SHOW
Noon-3:00 pm
The best in Roots, Rock, Reggae, DJ and
Dub music with your hosts George (Family
Man) Barrett and Collin Hepbourn.
MICHAEL WILLMORE'S ROCK TALK
3:00-6:00 pm
Authentic Rock 'N' Roll from the 1950s and
1960s featuring many collectors' items and
rock rarities you'd never hear anywhere else.
JUST LIKE WOMEN
6:30-9:00 pm
Tune in for invigorating and stimulating interviews, news and music for anyone interested
in women's issues or learning more about
them.
FAST FORWARD
9:00 pm-Midnight
Mark Mushet searches the world over for
experimental, minimalist, avant-garde, electronic, and other non-mainstream sounds.
LIFE AFTER BED
Midnight-Until we fail to function
L.A.B. highlights for December:
07 Dec.  Trini Lopez Live at Basin Street
(the ultimate Trini)
14 Dec.   Return of Don Bull's California
27 Dec.  Side Three of Kiss Alive One
28 Dec.  EULCGNIKCUFAT'NEVAH (Kuwait's
hottest hardcore)
L.A.B. also presents...
FLOYD'S CORNER
2:00-3:00 am
Country music with Jeff G.
SPORTS BROADCASTS
THUNDERBIRD BASKETBALL
Sat, Dec. 7, 7:50 pm
Join CITR Sports and catch all the action!
Tune in daily to our Sports Reports and get
all the results from UBC to the big leagues.
That's CITR Sports on your campus radio
station.
DECEMBER   1986     33 VANCOUVER ENSEMBLE OF JAZZ IMPROVISATION
Classic VEJI
there is so much to say about this music. What i mean is that so much flashes through my
brain and soul and skin when i hear this album that if i could i would write a screenplay about
it full of life and death and people and blood and sweat and sex and love and little harlequin
chickenoids playing alto, like bird, like art. like campbell ryga. like no one else.
and sometimes i think maybe what we need is to tell people that this is here and this is ours
and this is new and right now it has the snapping fire you sense when you go out from the
back room of the classical joint to where everybody is and nobody has been before.
so lenny bruce said there is only what is but then so did parmenides and so did my landlord,
so what, this music is. this music is VEJI. forget the 'homegrown' histrionics, forget the 'local
talent' routine, this is as good as it ever gets. ever, anywhere, period.
listen to this, sometimes we are lucky enough to have these people, who give us themselves
and give us the people who can give us themselves and these people are those people are
our people, gifts of love, listen to this, this is it.
look, listen to THE MESSAGE, listen to phillip dwyer blow triumphant, tenorously, tender and
intense, listen to the bold baritone runs of perry white on BLUES FOR CHARLIE and SCREEAB-
BOP! listen to the trombone—crunching collisions ofhugh fraser and dave robbins on HYPER-
BONTONEA. listen to the sound—walls rise and fall, listen to the best big band arrangements
since mingus. listen to the best horn section in the country, listen to an energy and integrity
that is rare and beautiful, listen, to this, to all of this, this is it. this is VEJI. this is their turf,
is their time, that is all there is to it. listen, learn, and live.
—ralph p. gleason
THE FALL
Bend Sinister
Vertigo/Polygram
Once upon a time, The Fall were a very loud
and clever indictment of all that was false and
obscene in the world of pop music and the
world in general. They were also quick to lash
34      DISCORDER
out at the hypocrites and cons that were festering in the then teething punk movement.
Now, prolific to the point of extreme redundancy, the group serves no purpose whatsoever.
Mark Smith, the Fall's major mouthpiece, is
now married and wife Brix has joined on as
lead guitarist and additional vocalist, unremarkable on both counts. Bassist Craig Scan-
Ion and guitarist Steve Hanley barely maintain a thread of the original Fall edge. Today,
it simply goes as badly recorded, uninspired,
plodding, and, ultimately, impotent pop
music.
Though the new album, Bend Sinister, is not
without its share of passable hooks, there are
some strange echoes of the Standell's Dirty
Water on a track called The Pharmacist (also
released as a single), and the opening cut,
called R.O.D., sounds like Wipeout sans the
catchy guitar riff and any real energy. Upon
inspection of the back cover credits, I see that
Mr. Smith is credited with having been responsible for 'tapes.' If one is to judge by the music
contained herein, it becomes clear that there
are few as equally inept as Mr. Smith, at incorporating this very potent medium into their
adopted mode of expression. At least Crass
tried their hand at tape collage with some
vigour and a sense of adventure. Mr. Smith
surely has no idea of how to use tapes effectively enough to warrant their inclusion in a
selection of mediocre pop tunes. The Fall indeed. I recommend that you pick up their Early
Years collection ^77 to 79) or the Live at the
Witch Trials album. And don't live in the past,
for, like The Fall, you'll be condemned to
repeat it. . .over and over and over again.
—Mark Mushet
cont. p. 36 It*
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from p. 34
ANDREAS
VOLLENWEIDER
Down To The Moon
CBS
The first thing you notice about Andreas Vol-
lenweider's latest LP is that it actually holds
your attention without pulling you into an effervescent haze, a tendency in Mr. Vollenweider's
earlier releases that could at times be quite
annoying. These earlier LPs, while often being
texturally interesting, seemed to indicate that
Mr. V. was stuck in his own private paradise;
often his music did not seem to have any
strong ties to the real world, and it was up to
the listener to take time off to explore Mr.
Vollenweider's esoteric little haven.
However, on his latest LP, Down to the
Moon, Andreas Vollenweider has tapped into
some stronger currents; the result being the
Andreas Vollenweider LP we've all been waiting for. While, as in past efforts, bold and
exotic textures characterize the album, they
also have a solid grip on the foundation of our
human emotions. And despite the effort it
takes for an individual to touch stronger emotional sources, Mr. Vollenweider hasn't lost any
of his esoteric magic. Thus, what we have is
an LP that is visionary, stimulating, bold and
challenging, an all-around, strong effort from
the man.
So if you have any interest in exploring more
nature-inspired, New Age music with a bit of
bite, Mr. Vollenweider's subtly romantic, beautifully childlike vision is sure to please.
—Kirby Hill
Shopping-
Shirts
I
36     DISCORDER
224-5711
2565      ALMA
November
28/29 DEATH SENTENCE with guests
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\H0USE OF COMMONS, FRATRICIDE, and LETHAL VIRUS
December    5/6 STUBBORN BLOOD with TREE FROG
12/13 from Toronto-CHRIS HOUSTON
w/guests EUTHANASIA
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ARTS CLUB THEATRE   1181 SEYMOUR   683-0151 THE STRANGLERS
Dreamtime
Epic/CBS
ml
The Stranglers are by far the most pretentious
and arrogant aural sculptors existing, having
survived for 10 years and as many albums
solely on the force of their staunch individualism and their unidirectional functioning as
a group. Remaining as tight a unit since their
inception, maintaining explicit control over
their producers, and not becoming the product of any one record company has allowed
the Stranglers to evolve the most defined and
noticeable sound of any group today. This
sound has slowly and carefully, and certainly
not without malice of forethought, been developed over the years to a level of self-satisfaction, forcing many original fans of their previously snarly and aggressive attitude to either
lighten up or look elsewhere to expel negative
energy.
The first impression of the Strangler's latest
album release Dreamtime, as with the
previous album Aural Sculpture, is of lazy and
unaudacious songwriting, possibly choked
out in their sleep on the Riviera. But as the
Stranglers real strength lies in creating the
'lasting impression,' the initial one soon fades
to reveal a work very developed, thoughtful
and intelligent, deeply layered in sonic purpose, and accompanied with lyrical intrigue.
Most ideas on Dreamtime are expressed in
metaphors, allusions and what-fors. The
Stranglers are never obvious in their lyrics,
and only occasionally are they explicit, whenever mortality necessitates clarity. For instance, such songs as Always the Sun and You
Always Reap What You Sow , declare a benevolent advantage that the Stranglers seem to
be in need of sharing; a modern-day major
morality, you might say. Not that these guys
are preaching, but they certainly have a defined point of view. The experience of age does
this to people, and the Stranglers are one of
the oldest and most experienced groups of
self-proclaimed non-charlatans around.
I won't bother to go into detail about song
messages, enough is said; nor will I attempt
to piece together some sort of cultural contribution that a potential album concept might
have, if indeed there is one. This additional
disc in the Stranglers discography merely
enhances their career, and will of course attract even more fans, due to its mainstream
accessibility. But most importantly it continues
cont. p. 38
DANCE MUSIC BY CITR
THURSDAY NIGHTS • 8:30-1:00 • THE PIT PUB • UBC
>.- «••;,* ;■   ;*,v;,..v->■-..■ V:v.v. 7^ :■.;.*,■.
136      POWELL       684-9834
DECEMBER   1986     37 the rapture c
this very pre
in a state c
contrived.
RUND
Raising I
Polygram
Raising Heli ar
(Yo... Jay give r
I'm Vic-Ranter
and I'd like to s
to the black, tin
the red, the bro
the purple and
But so far you\
and I brought t\
the next on the
Come on RUN,
Check it out,
(funky break...
first beat)
Now the song you've been waiting for,
Walk This Way (is a bit of a bore)
without the video, it'll make you snore.
Raising Hell and HIT it RUH
are the heaviest tracks on this album
(accent second beat...masturbatory guitar
o)
etai
■ BLACK SWAN
RECORDS
2936 W. 4th
734-2828
Best Christmas wishes
from all of us at
TOf O — Taihen • DISSIDENTEN — Live At The Pyramids   •
38     DI< turgid guitar noise
that's liked by all
the White Boys
This album is a frontal attack
that NEVER gives you slack
The message
of which they are sure
that perseverance
is the cure
to ALL the racial slurs.
If you're not a rap fan
give it a go
yeah, that's right
don't be slow
You'll find yourself
bopping to the rhythm
talking to the beat
as you're walking down the street.
If this review
don't make sense
that's O.K.
don't get tense
give this disc a listen
(there's some commercialism)
but you'll find out
what you've been missin'.
-Vic Ranier
BIG AUDIO DYNAMITE
No. 10, Upping St.
Columbia
A year ago, Mick Jones essayed his first foray
into the world of New York dance music. This
Is B.A.D. took a fashionably cynical British
attitude and successfully blended it with funk
and hip-hop to produce what was one of the
more listenable records of 1985. At the time,
Jones and Joe Strummer were still at daggers
drawn over the Clash's take from the '83 US
Festival. Now, however, the two have kissed
and made up. In consequence, Jones has
allowed Strummer to co-produce B.A.D.'s new
record No. 10, Upping St. Strummer also gets
writing co-credits on five of the nine songs
here. So, does any of this matter to the casual
listener?
Actually, yes, since Joe Strummer has always carried the rebel rocker pose with more
conviction that his erstwhile mate. Hence, we
get a record that reflects the tension between
the two's divergent interests. Jones' interest
in heavy production at the expense of rebellious political sentiment is directly opposed
to Strummer's anthemic aims. This tension
worked wonders for the Clash, for B.A.D. it is
less successful. Mick's current infatuation with
Anglicized funk, hip-hop, electronic percussion, and taped dialogue (all mixed up with
a strong Caribbean influence) sits uneasily
with Joe's revolutionary posing.
In spite of this the new album impresses,
even while lacking the force of the first record.
The lyrics are proof positive that Jones re
mains one of the most intriguing writers
around. Although glossed with a superficial
cynicism, his lyrics lack any real emotion.
Essentially snapshots of a rapidly changing
society, his songs lack the bitterness of the
true cynic and lack the fervour of a politico
such as Strummer. In many ways, he merely
records observations from life. The images he
documents are varied, to say the least; he
writes about immigrants, crime and the justice
system, drug money and the third world, soccer hooligans, celebrities who drink, do drugs
and/or die young, contract killer ads in Soldier
of Fortune, and British slums. In general, the
record has a more British outlook than the
first, possibly due to Strummer. As for the
album title, well, where does Maggie Thatcher
live? Pretty clever, eh?
The flying shrapnel of all this shallow social
criticism is largely irrelevant since Mick has
produced another record that squirrels its way
into your skull and then stays there for days.
Even with Joe Strummer loose at the controls,
Jones has managed to retain enough of the
polish and danceability that blessed B.A.D.'s
first record to create another worthy disc. The
result has three real standouts: C'mon Every
Beatbox, Limbo The Law and Dial A Hitman.
Big Audio Dynamite remains very much
Mick Jones' band, and Strummer's presence
adds nothing of note. Somewhat to his own
detriment, Jones has attempted to boost his
friend's flagging career; let us hope, for
B.A.D.'s sake, that Joe does not bring Mick
down with him.
—Iain Bowman
cont. p. 40
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DECEMBER   1986     39 from p. 39
JASON AND THE
SCORCHERS
Stili Standing
EMI America
The third album that any band does is supposed to be their toughest. They can't rest on
their laurels so they have to work extremely
hard to sort out their musical directions in
order to continue in the spotlight of the wacky
world of rock and roll. With their first effort,
Fervor, Jason and The Scorchers introduced
us to their kick-ass brand of cowpunk for
which they got a lot of attention and deservedly so, because their style was a fresh change
for 1983. On Lost and Found, the second
album, their sound had solidified further. The
production brought out all the sharp edges
they had to offer and tracks like White Lies and
Last Time Around made believers out of anyone who couldn't conceive of something
called 'cowpunk.'
Herein lies the problem; which direction is
best to pursue? More emphasis on punk? Or
country? Or just keep to the same track? Well,
on Still Standing it is obvious that Jason has
decided to phase the punk out of the cow and
the result is an animal that still kicks every
once in a while but is largely content with the
tried and true paths of the country music
fields.
Throughout Still Standing, Jason Ringen-
burg's mock-Hank Williams vocals trade back
and forth with Warner Hodges' deft guitar
picking and riffing. They bounce c" ^~h
other and fill out each track nicely but it is
somewhat predictable. This is not to say that
this choice of standard country fare is stale;
the band has more than enough verve to pull
it off, but let's just say there are no surprises.
Well, almost no surprises—the cover of 19th
Nervous Breakdown is a bit of a twist. Jason
and The Scorchers approach this one with all
the reverence of a vampire approaching a
freshly raked grave, which is exactly what you
better do if you're going to unearth this 20-
year-old relic.
One thing that hasn't changed here is
Jason's ability to write lyrics of substance. As
with Lost and Found his songs are replete with
Old Testament imagery. Crashing Down
begins with "They say that everything must
fall/Every monument and hall/Every empire
with its glories sung/Will fall down by the way."
Decay and battle seem to be dominant
themes on Still Standing, which is rather ironic
at first glance. Jason seems surrounded by
a hopeless world; the only repose he finds to
Keep him standing is in his faith in God and
the love of his woman.
Country themes and riffs can be limiting as
Still Standing proves, but, like I say, third
albums are tough to make.
—Mark Quail
BILLY BRAGG
Talking With The
Taxman About Poetry
Polygram
He's been called England's Springsteen, but
here he excels in a field in which Bruce has,
thus far, feared to tread as he gives us another
heavy dose of political anthems. However, as
with The Boss, a new Billy Bragg LP signals
a major release, worthy of attention on both
sides of the pond.
Bragg's ability to blend hilarious imagery in
his love songs, a powerful message and, at
times, some blatant politicizing, makes him
a unique phenomenon in the music scene.
His live performances are pared down to the
basic format of one man and his guitar, but
he has such stage presence and a rare ability to research each and every locale on his
travels, that he is able to hold the audience
by the short and curlies. He manages the
same sort of gripping stuff on vinyl, too.
Once more Bragg has the trumpet of Dave
40     DISCORDER
Wood head and the keyboards of Kenny Crad-
dock to add tasteful touches to some of the
songs, but he also has The Smiths' virtuoso
guitar hero Johnny Marr, the Electric
Bluebirds' fiddler, Bobby Valentino (who plays
a blistering accompaniment on the only non-
Braggian composition, Train Train, a fierce
rocker) and Kirsty MacColl, who released a
highly creditable cover of Bragg's A New
England a couple of years ago.
Bragg presents some amusing, and some
poignant, reflections on relationships on such
tracks as The Marriage ("Marriage is where we
admit that our parents were right"), The
Warmest Room ("I've become inflamed with
thoughts of lust and thoughts of power/With
thoughts of love and the thoughts of Chairman
Mao"), and Greetings To the New Brunette
("How can you lie back and think of England
when you don't even know who's in the
team?"). There's also the classic Lew Stubbs'
Tears, the song of a woman putting her life
back together after being shot by her estranged husband, while listening to her Four Tops
tapes. The honky tonk piano on Honey I'm A
Big Boy Now lends a Music Hall feel, but for
me the standouts are the political diatribes.
There Is Power In a Union is for all those who
have been force-fed the rantings of the media
about the irrelevance, and irreverence, of
unions, Keith Bennett and the Forest Industrial
Relations merchants take heed! Help Save The
Youth Of America gives a series of warnings
to our Southern neighbours about the state
of their own back yard and the hypocrisy of
U.S. involvement in Central America.
This album closes with The Home Front, a
vivid picture of life in the Old Country, which
is so powerful that, as the strains of Jerusalem
are fading out at the end (reflecting Bragg's
reverence for the finer legacies of English
tradition), the only way to follow it is to flip the
LP over and start again.
There's also a moving poem from Soviet
writer Vladimir Mayakovsky to give even more
value for your bucks. This has my vote for
album of the year. To decide on Concert Of
The Year, his show at 86 Street Cabaret December 5th is a must.
—Steve Edge
cont. p. 42 1!
BEYOND ALL DOUBT (optimism)
Christmas was meant for Gift Giving (sarcasm)
or SUICIDE (cynicism)
For those who don't end it this year. . .
Join
CYNICAL and SARCASTIC OPTIMISTS
Membership includes Laminated I.D. Card!
Sick but funny stories! Games!
Cartoons! Research! And more!
Send $5 to Secret Friends
Box 69433 Station K
Vancouver V5K 4W6
...or surprise a friend. Makes a great Christmas gift.
ON GRANVILLE
Just in time for the
holiday season.
A special gift just for
you, the return of the
Watch for it in
early December.
Open Sundays
WHY   POSE !!
. WHY   BE   JUST
ANOTHER    NUMBER
'SCUZ
THERE'S ONLY
ONE    PLACE
DANCE       /
J
*
1275
SEYMOUR
DECEMBER  1986     47 Didn't you hear what you said?
from p. 40
STEVEN BROWN
Me and You and
the Licorice Stick
Sub Rosa
With Holy Wars and Ship of Fools, Tuxedomoon left me cold. A group I'd previously held
as being infallable, Tuxedomoon once had me
clamouring over Hell's half-acre in search of
every scrap of their recorded output. Their
move from San Fransisco to Brussels in '82
meant the pursual of artistic interests over
their quasi-pop leanings. The change in locale
lead to a climatic collaboration with choreographer Maurice Bejart for the ballet Divine.
Shortly thereafter, Tuxedomoon's Steven
Brown embarked on some solo projects as
Tuxedomoon went into decline. The resulting
LPs were masterpieces from start to finish.
Douzieme Journee, A Propos D'un Paysage
(both with Benjamin Lew), Zoo Story (his score
for the Belgian film production of the Edward
Albee play), and Music for Solo Piano were
consistenly brilliant despite being very moody.
Whatever one's reaction to the music of
Steven Brown, he has a singlular ability to
create capital "A" atmosphere.
The latest in haunting melancholia from
Brown is a four-song EP on Belgium's up and
coming Sub Rosa label. Two songs of disillusionment and loneliness, and two tape/clarinet
pieces that recall the best moments of Douzieme Journee and Divine. The opening cut, Am
I Home Yet, is pure pathos. Big Bird went away
TCE-X-C-E • L- L-E-NT) ^r
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present this coupon for our
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For every 5 of you in your party—
ONE EATS FOR FREE!*
('other orders must be of equal or greater value)
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42 DISCORDER
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FM 102 CABLE 100
Listen to it. It could change your life. one day... starts Brown in a decidedly resigned tone as Big Bird weeps and moans in the
background. The rest of the tale is told over
some truly blue clarinet mixed with some very
old recordings of the instrument. Gone With
The Winds, the second track, is pure Divine
and easily shows Brown to have been the
major artistic force in Tuxedomoon's better
days. Besides All That is more along the lines
of current Tuxedomoon, a bit of what I call the
empty cabaret approach. It took awhile to grow
on me considering its similarity to the newer
Tuxedomoon material. The last cut, A Gift,
takes up where we left off with Gone With The
Winds, pure mood, the way only Steven Brown
could deliver it. By the way, the cover of the
EP is an aerial shot of night-time New York,
circa 1932, if that's any help in finding your
bearings.
For all the unrequited lovers of the once
great Tuxedomoon, and all of us who eagerly
await each new offering from Steven Brown,
this EP should soothe. It will be some time
before this man goes the way of his alma
mater, and for that we can be thankful.
Seeing as most Sub Rosa releases disappear rather quickly, I suggest you write direct
to: Sub Rosa, P.O. Box 808, CM 1000, Brussels, Belgium. And tell them who sent you,
they are always glad to make new contacts
over here.
—Mark Mushet
Bride on the strength of my knowledge of the
body of Tietchen's work.
Much of the music of Asmus Tietchens
lends itself perfectly to use as soundtrack
material for some decidedly sombre visual
moods with occasional flashes of intensity.
This is not to say that his music fails as a
listening experience in itself, it's just that it
suggests so many images. I feel the soundtrack to be the perfect medium for these two
musicians as this collaboraton is heavy on atmosphere. It controls the listening environment with an insistence that is so rare among
those working in this somewhat grey area of
sonic exploration. It drones, pulses, jabs and*
moans, with synthetic rhythms making the odd
appearance to keep some semblance of this
being a collection of "songs" rather than a
sampling of atmospheres. It is a strong album
and one that is bound to make an impression,
one way or another. There are no track titles
per se. Rather, each track is given a cluster
of lines and curves (shades of Braxton). Mildly
abstract, as is the music.
I've found The Burning Bride on my turntable quite often lately. Some of the music on
this record is slated to appear in a film being
shot in Vancouver this coming spring. This
should confirm its suitability for use in a
soundtrack context. It is an excellent record
and one that should further the impact of a
music heretofore neglected by the alternative
crowd.
—Mark Mushet
MOONSHINE FUELLED
ROCK 'N' ROLL AT ITS
RAUNCHIEST!
GEORGIA SATELLITE:
ASMUS TIETCHENS AND
TERRY BURROWS
Watching the Burning Bride
Hamster
Musical collaboration through the mail. No
contact between either artist in a studio environment. Tapes are sent via post then embellished, mastered, and pressed.
This is how Watching the Burning Bride
came about. A collaboration between Asmus
Thietchens, a highly prolific electro-acoustic
composer from Hamburg, West Germany, and
Terry Burrows of Jung Analysts and Hamster
Records fame. Seeing as Terry hails from London, collaboration seems logistically awkward
for both parties. Since 1980, Tietchens has
had many records released in Europe and has
been highly active in the independent cassette
movement over the years. His style has evolved from cold, synthetic, futurist pop to highly
exploratory electro-acoustic/musique concrete. The music of Terry Burrows I've never
heard, but seeing as the Tietchens sound
tends to dominate, I'll review The Burning
"We've got
The Replacements'
Attitude with
Total Ramones' Assault"
—Rick Richards
6'fl
><*
,0*
mm       YOUR TOTAL ENTERTAINMENT LfcfVlKI
Q&Osound
556 SeymOUr St. 732 SW Marine Dr 2696 E Hastings St
687-5837 3215112 2541601
DECEMBER   1986     43 Janis McKenzie Puts You On The Right Track
Local Motion—D.O.A. Style
IN LOCAL MUSIC NEWS. . . Of course
almost everyone knows by now that my
favourite band, Slow, is no more. Tom says
(yeah, the guy who wrote those cryptic Slow
lyrics) that "the ride isn't over yet," but it'll
probably be a while before anyone knows for
sure what that really means.
Now for demos.. Basement Slaves—Follow
Who Falls and Dreams on Pictures—Now
here's a band that knows the basic rule of pop
songs—keep 'em short and simple (and fun,
if possible). These guys don't make the
mistake so many bands do of boring you for
10 minutes with just one interesting riff. Now
I know some people are going to say that the
Basement Slaves sound too much like the
early Who or too 60s or something, but / like
them. Now if they could just find a lead guitarist we could all see what they're like live!
(Anyone interested can contact the band c/o
me at the station.)
Bad boys of a different sort, Skinny Puppy,
have been having problems with MuchMusic
over their latest video—the station thought that
there was something obscene happening
around the edges of the picture while, according to Nettwerk, the offending stuff (used as
a kind of framing device) was simply taken,
from a New York art film. Although the tape
has been cleaned up, its future at MM remains
to be seen.
According to a recent Hip Type press
release, the band will soon have a four-song
EP out on Life After Bed Records, produced
by (guess who!) CITR's own Garnet Harry.
When it will hit the record store shelves is still
a mystery.
The Postmen—Things Never Stay the'
Same—Actually I suspect this is only one person (The Postman?;—let's just say it has that
One Guy With a Four-Track sound. I don't care
much for the sort of cheap syntho feel of this
song, but the tune kind of got stuck in my
head. If this was a guitar-based song it would
still be dumb but might be more fun.
Go Four 3's debut LP, Six Friends, should
be appearing on Zulu Records sometime this
month (about the time the band gets back
from a cross-Canada tour), and it will make
the self-titled EP sound positively primitive in
comparison. You can even hear strings (and
sitar, of sorts) on this record, but this is not
complex stuff—the Gofers are still a pop band.
(Perhaps most surprising, however, is the inclusion of the old Debutantes' song 7th Victim—something the band rejected putting on
the EP nearly two years ago because it was
"too old.")
Deviant and The Clones—If God is Dead
What can I say? For some reason I liked these
guys' Slaughtering Fran's Cat too. The Clones
are just so abrasive and so synthetic that they
can be wildly fun (although it's hard to say
, whether it's in spite of or because of their terrible drum machine). If it weren't for Deviant's
highly tortured vocals you'd never guess there
was a living person in this band. You can
decide if that's good or bad.
44      DISCORDER Dan Danger— The Ocean—This is truly
bizarre stuff—maybe it was actually recorded
underwater. A friend of mine, who's also from
Coquitlam, says maybe it's just that suburb's
effect.
Nasha Rev—Dust— For those who "spend
a long time teasing their big hair in preparation for a trendy night on the town, this is the
ideal background music. The melody isn't bad
but this song goes on forever. Maybe I'm just
not cool enough, but I find this pretty dull. The
band does try, however—rumour has it that
they're setting records requesting their own
song.
ff*f    r    mm
%^:
The Void—These five lads from North Van
have only been together for six months, but
they've already collected quite a few fans,
partly because they nearly beat Stubborn
Blood in the Shindig. And now, after a very
few live performances, The Void have come
out with a two-song demo: Waiting for the 69
(a train apparently) and Hoping for the Rain.
At first the band's name put me in mind of a
hardcore band from the Prairies, but I could
hardly be more wrong—The Void belong more
to the Hoodoo Gurus/Guadalcanal Diary
school. This means a countrified flavour in
places and an emphasis on an acoustic guitar
sound (although they do use some synth) and
especially harmonies. It's the richness of the
backing vocals that got me—these, with the
hookiness of the choruses, tempt you to sing
along. Of the two songs, 69 is better, more
upbeat and fun, while Hoping may well be The
Void's stab at Top 40, with the vocals unfortunately sounding kind of distant in the mix.
If I have one complaint, it's that the songs
might tend to be a little long, mainly due to
chorus repetition—of course this ensures that
those hooks get really stuck in your head. If
this band can stick it out, I think they could j
even "go places'—whatever that means!
m
l^Kua**"
WF*
\&to
.-A3*
-Ab3
KM
One year subscriptions are available:\_ - -|
$10 in Canada and the U.S.
$15 overseas.
~utt£L
CITR Publications
6138 SUB Boulevard
rspr
V
Send cheque or money payable to:\<^ ^ ftb^'^? vio^
*Aa|
SS*
UBCCampusV'-
Vancouver, B.c\V^i
iSteW,\VV6T 2A5       /\ - J
shriekback
in concert
at the Commodore Dec 4th & 5th
IF
ISIANP
Wt*M^
mm      YOUR TOTAL ENTERTAINMENT CENTRE
O&Osound
556 Seymour St.
687-5837
732 S w Marine Dr 2696 E Hastings St
DECEMBER   1986      45 ".. the elves are wearing leather and the
reindeer are in chains..."
The most dreaded season for TV viewing is
now upon us. The season when your TV stops
acting like a source of information and entertainment, and starts acting like some mutton-
chopped speed freak from Langley trying to
hit you up for spare change in front of the
Granville Mall Rotten Ronnies. Yes friends, it's
here. The Christmas TV season.
Possibly the worst aspect of Christmas
TV—apart from commercials which bludgeon
you with the notion that not only can you buy
the perfect gift, but you can also end world
hunger—is that all your favorite programs are
going to be pre-empted for yet another Bob
Hope Christmas special. Do you really need
to see a geriatric multi-millionaire, accompanied by a dynamic performer like Susan Anton or Brooke Shields, tell jokes that weren't
funny 30 years ago? No! Of course not! Just
like you don't need to watch four hours of the
Finger Bowl as the mightly Northeast Carolina
State Klansmen take on the Ernest Angley
University Healers.
So what can you do? Well, since you can't
afford a VCR, and you don't have rich parents
who can whisk you off to Maui for two weeks
with Brian and Mila, there's only one thing to
do. Make up a Christmas list. Just like when
you were nine. But instead of presents, make
up a list of the ten or fifteen things you'd like
to see happen on TV. Then mail your list to
the Armchair Eye, c/o Discorder, and we'll
publish a selection of the suggestions in the
February issue. The best suggestion will win
some exciting and fabulous TV related prizes.
Here's my list of things I'd like to see, in no
particular order.
[Jerome's Christmas List
• A Christmas special where Keith Richards, at his most wasted, plays Santa. Every time
a child would sit on his knee, Santa Stone, with Marlboro hanging from his lip and a bottle
of Rebel Yell in his hand, would remind him or her that: "If schumbuddy offoars you
coake, schmack, or pawtt, schay Nooo."
• An updated version of A Christmas Carol, with Rutger Hauer (The Hitcher) playing
Scrooge and Anthony Perkins (Psycho) as the troubled Bob Cratchit.
• Ban all Sneak Previews-type shows save the original with Gene and Rog.
• Sports interviews where the athletes are asked point blank: "How much money do
you make?"
• Cancellation of the new Star Trek TV series. Do we really need to see some Rob Lowe
clone at the helm of the Enterprise? Or worse, Emmanuel Lewis as a Vulcan?
• The host of CBC's Good Rockin' Tonight slowly put to death while a Butthold Surfers'
video plays in the background.
• A law introduced that says TV networks can't carry any Christmas advertising until
three days before Christmas (after all, isn't that when most of us start shopping?).
• Ban George Burns from appearing on TV or in movies.
• An episode of Miami Vice where Crockett and Tubbs are laid off because of budget
cuts and they are forced to give all their goodies back to the department. Imagine Don
Johnson, sans Ferrari, driving in a Pinto on the way to work, as a short order cook at
Denny's.
• An episode of Hill Street Blues where the cops, particularly Furillo and Goldbloom,
are found to be more corrupt than the average member of the Marcos family.
• Mike Wallace of 60 Minutes being grilled in front of the cameras the way he grills
the guilty and innocent alike.
• Knowlton Nash of The National, ripping off his tie and glasses and yelling at the top
of his voice: "Bullshit! It's all bullshit and lies! They're hiding the truth! We're being taken
over by aliens from another planet!" And then the screen goes black for several seconds
until a Beachcombers re-run appears.
Jerome Broadway
MKTTOStt ,
of w _
CUTBfNOW WHAT
DIP You Pur/A|
M cor-pee,
WOMBAT-"
46      DISCORDER 1
MONDAY
TUESDAY      1   WEDNESDAY
THURSDAY     |           FRIOAY                SATURDAY
SUNDAY
C\TB
a                      j
FAMILY PLOT
with guests
Y0~DELLS  w,thguess
7
T.B.A.
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MONUMENTS GALORE
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FROM TORONTO '*
CHRIS
HOUSTON
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RADIO EUROPE
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Merry Christmas
24                                     17
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DOWNTOWN VANCOUVER:
810 Granville (at Robson) 682-5221
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VANCOUVER:
Oakridge Shopping Centre 261-025
RICHMOND:
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(Open Sundav
< Shopping Centre 278-3041
^^a      ^^^B   HHBM

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