Lunatic Fringe Presents A lesson in Grammar. Fuck is perhaps one of the most interesting words in the English language. Fuck is one magical word which just by its sound can describe pleasure, pain, hate and love. Fuck comes from the German word "FRIKON". In language, "fuck" falls into many grammatical categories. "Fuck" can be used as a verb, both transitive {I fucked the system), and intransitive (The system was fucked by me). It can be used as an active verb (he really gives a fuck) or a passive verb (she really doesn't give a fuck), as an adverb (she is fucking interested in him) and a noun (he is a real fuck-up). As well,"fuck" can be used as an adjective (/ am fucking beautiful)- As you can see, there is a whole lot of real versatility with the word "fuck". It pops up everywhere. Besides its sexual connotation, this lovely word can be used to describe many situations: Fraud - / got fucked by that crook. Trouble - I'm fucked now. Aggression - Fuck you! Philosophy - Who gives a fuck? Numerology - Sixty-fucking-nine. Displeasure - What the fuck's going on? To Tell Time - It's six-fucking-thirty. A Political Statement - Fuck Mulroney! All Encompassing - Fuck 'em all! A Poker Hand - A Royal Fuck As An Acceptance - Fuckin'A! Dismay - Oh, fuck it! Confusion - What the fuck? Despair - Fucked again! Incompetence - He's a real fuck-off. Rebellion - Fuck it! Descriptive analogy - He's a fucking asshole! As A Perdiction - Well, I'll be fucked! A Put-Down -fuck off, buster! Law Enforcement - Fuck tha'police! To Start a Relationship - Let's fuck now! Enjoyment - Fuckin' wow! A Closing - Fuckingty yours. Use fuck in your daily speech proudly fuck adds prestige to any conversation. Put this colorful four letter word to work for you; today, tell someone you know "fuck you" or Let's fuck". to be continued... oVepAcnet/Une^ups Sundays - Tuesdays - Wednesday Buck - a - Nights 3/5 Z. &wadujayal3&iffsway 676-7003 <9pet* .' 9u»io(Sal- Spmte2am, (Sunday ioCAOdnigM. (Eeue*; &w. and (Sal, cnfy*x£OCJ/fcw*9pmio /an* di%orQeR NOVEMBER 1991 - ISSUE #106... IRREGULARS 90210: ROBSON STREET Wanna-be's Enquire Within ....LI MICKY DOLENZ Everyone's Least Favourite Monkee ....L2 PUBLIC ENEMY Learning The A,B,C's With Chuck D ...M5 ALICE DONUT Scooter Gets Revenge Upon Tlie Impotent ...M6 PIGFACE June and Tlie Industrial All-Stars ...M8 HARD ROCK MINERS A Diamond In The Rough .M10 MUDHONEY Bryce Dunn Goes Along For The Mudride .M12 GET RICH QUICK ...Or Work All Your Life. You Choose ....L5 CLIVE BARKER We've Seen The Future of Horror ...L6 SUBCULTURE The Long-Debated Topic ,...L8 FICTION Literary Stuff ....35 MAN/WOMAN 38 REGULARS AIRHEAD 5 FUTURERAP ..M18 MINIS M3 FELICITY DUNBAR ...M19 SHINDIG IVI7 SUBTEXT L7 UNDER REVIEW M13 SPINLIST 36 REAL LIVE ACTION M16 ON THE DIAL 37 DUMMYHEDS, FOUND IN SUPPOSEDLY EMPTY EQUIPMENT IN SEATTLE, WASHINGTON by Rob Adamson *" DISCARDER by Gary Wildeman >r of a Hard Rock < n Clarkes. OFFICE USE ONLY WW mk m USE YOUR IMAGINATION THE if ' a* TwiDGHT ZONE ^ PLAN A PARTY -YOU MAKE $$$ SUN.-TUES ONLY! UVE BANDS! CALL 874-BAND EIIHBEH BATTLE OFTHE D.J.S LUBHR»ngBffM_ltP- AND THE U.X. lilMMl $1.75 HIGHBALLS SHOOTER SHOCK EVERT HOUR NDUSTRIAL DANCE CAGED GO-GO DANCERS ALTERNATIVE B7JR BASH $1.25 #7 ALEXANDER STREET GASTOWN 682-8550 HEY! BOO-BOO!!! For this one month only we present the entirely tabloid "Pull-Out" Discorder. If, in the past, you have found the "Lifestyle" articles to get in the way of your enjoyment of the "Music" articles in Discorder, rejoice. For now you can pull out those damn "Lifestyle" bits. And, if music is not to your liking, you can pull out the music related articles, leaving you with only the choice counter-cultural perspective pieces. So, turn the page and let the pulling begin. Due to some recent renovations in Vancouver Special, the column will not appear this month. However, beginning next month, Redd McJann and Coral Short will be providing you with all the important local demos, releases, music gossip, and gig reviews. Another programming note: usually at this point in the magazine you would be reading one of many fine letters sent to the magazine. Unfortunately we don't have any letters to print in Airhead, so, instead... Here al Discorder, we apologize for printing what many people, quite rightly, found an offensive, sexist advertisement. Due lo an error in our process, which has since been corrected, an ad was put in the magazine without being subjected to the usual scrutiny. Unfortunately the damage has already been done. Yet again, women have been portrayed as powerless objects lo be exploited by men. And now Discorder has been caught in the web of the male hegemony that continues to methodically marginalize and subjugate those who are not male. Perhaps the most troubling aspect arising from this incident was the lack of negative response from our readership. Although we received a few internal complaints from people involved in Discorder, primarily writers, we only received one telephone call from a concerned reader. Apparently, people are content to allow the mediaand advertisers to continue their sexisttraditions—nol willing to make them accountable for their stereo-typing. To insure lhat a similar incident does not occur again, a few things have changed uDiscorder. the editors will pre-screen all ads, the advertising reps will have greater discretion in refusing ads, and all have shared a greater awareness as to the subtle and overt forms that sexism can take within the media. Oh, yeah, while we are apologizing...our apologies go out lo Scooter, whose name did not appear with his Big Drill Car interview, and Mark Kleiner, whose name did appear alongside his Strawberry Alarm Clock article but was illegible. QSfoflP O/Mrtf+n-QS Q PC © •2J Wte&ro frit d/kk S»o£ of 18£ Lpo^i. REAP YOUR diScArdeR 24 HR. SHOW INFO: 681-1732 TILL THE TILL THE iJU 1 Li RS BREAK BREAK n ._, _____BRllii»iw' %_&-_ZZ A compiidtion ofBldck and North American Indian resistance, words and music including Jeannette Armstrong, the Beatnigs, Rebecca Bellmore, Chuck D, The Fire Next Time, Che Guevara, Greg Young Ing, Henry Kaiser, Mad Professor, Ahdri Zhina Mandiela, Don Paul, Seventh Fire, the Suspect Many, Benjamin Zephaniah t a". a A potent message delivered with maximum impact.... a rare and forceful confluence of words and music College Music Journal JA CKPOTI For sounds that are great with words that illuminate, get liil Hie Ms Break. ... It's one of the most powerful and impressive recordings I've heard this year. Jonathan £., BAM Magazine Irresistible/Maya/Revolutionary manufactured and distributed by CARGCX has no respect for age-it may even attack / Shadowy Men On A Shadowy Planet brush up a bright new release of twenty three gleaming instrumentals for the masses. Having wowed millions (ok...thousands) with last year's "Savvy Show Stoppers", they return in fine form with "Dim The Lights, Chill The Ham". Available in all modem formats. .Q|W> Get Rich Quick pL5 Sub-Culture pL8 ROBSON ST. 90210 Live With Vancouver's Rodeo Drive by Lee-Ann Hooker Now, before I start spewing off about alt the aspects of Robson St. that nauseate me, just let me say that even I must admit it adds some much needed style to an otherwise aesthetically void part of town. After all, as culturally hip as the West End is, it is also viewed by many outsiders as a bit of an eyesore. Having said that, then, here are some points I find especially exasperating about The Rodeo DrivB of Vancouver..." 1) Robson St. Clothing Store Clerks I sometimes feel as though I bring this unnecessary aggravation on myself. After all, it's not as if I can afford any of the clothes in these shops, save for maybe a pairof socks from the Sock Drawer, so why go in? Whenever I do, I'm greeted by some toothy Barbie doll salesgirl who reeks of Eternity cologne. She grins as if she's about to burst a blood vessel, and says something cute like "Hi! How are you today?" Don't get me wrong, IVe got nothing against being friendly, but does this girl really care how I am? I doubt it More likely, she is debating whether to go to Earl's on Top or The Cactus Club for lunch, and wondering how much sales comissbn she can squeeze out of me today. I answer this last question for her; I walk out 2) Friday Night Pre-Pubescent 'Vogue'-ing This spectacle occurs when throngs of teens, too young to get into the bars gather on Robson in their Guess jeans and Raider's gear and compete for the coveted title of "Best Dressed Poser." My friends and I have a theory that a lucrative career could be had by bootlegging for these kids. Not to mention the endless hours of fun we could spend watching them get drunk off of one cooler and puke all over those designer labels. 3) The Robson St Bus I figure that I could be completely lame in both legs, crawl down Robson from Granville St, and still make it to Starbuck's Coffee before that damn bus would. Forget public transit; there should be a chartered flight service for this route. 4) The Weekend Battle of the Boomboxes I can think of nothing more pleasant than falling asleep only to be awakened at three in the moming by C & C Music Factory blaring out of a Mazda Miata parked just outside my apartment I mean, if you're going to disturb the peace, at least be tasteful in your choice of music. Arts pL6/7 5) Robson Rent-A-Cops It's really no wonder these traffic cops have such inflated egos. Wouldn't you if you got to stand in the midst of traffic wielding a glowing orange wand, performing ihe duties that regular cops couldn't be bothered with? Well, I could go on forever, but the liquor store is about to close, and I've got some coolers to sell. Micky Dolenz pictures courtesy of Mark Kleiner Mr. Monkey Man: Micky Dolenz by Nardwuar the Human Serviette How do you fed that you fit this role. Why did they ask you, Micky? Cause fm a celebrity. A rawk'n'roll celebrity? Depends on your point of view I suppose. Some would say yes. Some would say television celebrity. Me being from Vancouver, B.C, Canada, how come I don't know a hell of a lot about the Monkees? Were they syndicated In Canada? I have no idea, but it's probably just because you're too young. But when you grow up, maybe you'll leam. Nardwaur: Who are yo Don't you know? Why ai : you interviewing me if you don't know? Oh well, just for the people out there that wouldn't kaow. Ah, my name is Micky Dolenz,. What's yours? My name is Nardwuar. Hi Nardwuar, how are you? O.K...Now Micky you were Involved In that famous rock'n'roll group, right? Yes, that's true. Actually, it was a television show about a rock'n'roll group. It has been said you don't want to be known as a Monkee anymore, is that a valid statement? No, it's not. I'm not in the group anymore but I'm very proud of what I did and I had a great time and it was very successful. I'm solo now. And you 're here I n Vancouver, B.C, shooting a fun game show called, Crazy Talk"! Ah, no, Ac/i»i_ Crazy. It's basically just charades. Is that the main reason you're in Vancouver? Yeah, I came out just to do the show. Did you quit the Monkees? Yeah, I went solo about two years ago. And before that, when the Initial Monkees broke up, how did the group disband? It wasn't a band. I already said this once. Sorry. Listen carefully now. It was a television show about a band. So, when the show went off the air, the SHOW went off the air. It's like Leonard Nimoy and William Shatner didn't hang around together, you know, after beaming each other up. What happened next, did ya forge new ground in movies? I became a film and television director. What stuff can people see that you have done? Nothing really here, I was working in England-exclusively in England for fifteen years. On Monty Python material? I worked with some of the guys from Monty Python. I didn't work on that particular show but I worked with Mike Palen and Terry Jones. Does the name Linda Lovelace bring any m ries back to you, Micky? Yeah, we did a movie with Linda Lovelace in the seventies. It was an attempt to try and legitimize her as a comedienne. It wasn't a porno film, it was a comedy. There were quite a few comedians in the No, cause the movie (Linda Lovelace For President) didn't do that welL.it was quite funny. It was an attempt to make a comedian out of her. Has Jealousy ever played a part in your life? No. You've never been jealous about movies or parts you 've missed, like for example not being cast as the "Fonz" In Happy Days. What's the story behind that? I was up for it as an actor, to play the part of the Fonz, but Henry Winkler was excellent casting for that I think. I would have cast Henry instead of myself if I was the producer. Did you even know he was auditioning or was It at a totally different time. No, it happened to be exactly the same day. He says he remembers meeting me but I don't remember meeting him. Before The Monkees did not Micky Dolenz have a real live TV Show? Yeah, I did a series when I was a kid called Circus Boy. Has that aired recently, or are there any plans for it on home video? No, I dunno why. I suppose they must have a problem with the rights or somelhing because they haven't put the show back on the air. Did you come from a family of established artistes? Vaudeville entertainers? Artists, not artistes. You talk funny. I Ulk Canadian-it's the land of Clam Chowder and ice! Artistes?!? Yeah, my father was an actor. Who were the Missing Links? Hiat was my band before the Monkees. "HIPPIE" MICKY Dear Micky, I read in a blah magazine that you aren't getting along with the other guys because they think you act too much like a "hippie." Gail Feldman Santa Rosa, Calif. * Dear Gail, False! The word "hippie" means a lot of different things to a lot of different people. We Monkees don't consider ourselves hippies at all. We do-and that means all of us-like far-out clothes, Indian heads, etc. We don't feels the least bit competitive and, as a matter of fact, we Monkees are always making presents of these clothes and trinkets to one another. Micky Could they be classified as a 60's wailing punk garage band, a la The Stan dells? Yeah, we were a bar band. We did Top 40. Yeah, just a rock'n'roll band. What ever happened to the other members of the Missing Links? Have you kept up with them? Naw, haven't talked to them in yean and years. It's been a long, long time. What, If anything, did the Links put out? We ahhh— I had one record out but it wasn't with the Missing Links. Yeah, I had one or two records out as a solo artist before the Monkees. You've heard or the Plaster Casters, eh? Yeah, those two girls in the sixties that used to go around talcing plaster casts. "Moldings." That's true. l. Get your grammar right What would you like to be known as nowadays? Oh, the singing director probably. Recently Operation Desert Storm caused a lot of commotion. Any feelings regarding the Gulf Crisis Mr. Dolenz? Well, I wasn't a big fan of old Saddam Hussein, so I don't have too many complaints. What about you? Ugh, I was really wondering wasn't Head, that luxurious, that hardhitting, that big movie that you Monkees did, sort of an anti-war film? Yeah, part of it was. yeah. It was an anti-Vietnamese war movie. And now with the Persian Gulf War, would that mean that if the Monkees were around today, they might have made a movie like Head, possibly about the Gulf Crisis? No I doubt it. There isn't much of a counterculture today. Do you feel you would have still made Head if you felt the way you do now? In other words, have rock'n'rollers gotten more conservative, like Jerry Lee Lewis wearing ties nowadays, and not being with 16 year old girls- No, I think you have to take each case in point The Vietnamese war was, and I still believe, and most people do, unjustified. The Persian Gulf probably (Pause) And, finally, thanks for the time, do you know who the Prime Minister of Canada is? Afraid no- Later Micky! Goodbye. 10 5_^»2E_3 ADVERTISING. You got something you wonno se//? Now's your opportunity to have 17,500 copies of your od circulating around town for a month...for less man the price of, oh, say.Jhat new yacht you've been thinking about. Way less! a IVIIIII^J IWI II ng months: Issue # 107 - December 1991 Booking Deadline: Wednesday, November 13 Artwork Deadline: Friday, November 15 "Street Date": Thursday, November 21 Issue #108 - January 1992 Booking Deadline: Wednesday, December 11 Artwork Deadline: Friday, December 13 "Street Date": Thursday, December 19 fR @ 822-30 I I 2ND SKIN 432 HOMER ST 683-7607 CLOTHES, LEATHER REPAIRS, HATS, BELTS, COOL STUFF Music Alice Donut p.A16 Hard rock Miners p.AilC/11 Pigface p.M8/9 Real Live Action p.16/17 THE OUTKACJfcOlS VALENTINQS TRASH PALACE One thousand copy limited edition 13 song water-proof vinyl debut Irom everybody's favourite shitheads. The Valentinos, out now on ^meouver's latest ill-fated indy label KOmET Records. It's the album no- one expected to be made—guitar licks stolen note for note from Steve Jones; soon to be classic anthems like YUK EVERY GOOD GIRL, MOVIE STftR and GimfiTE SOniE fiCTIOR—all in a wonderfully redundant blender mix of The Spiders From HTars meet The Ramones. So steal some money from your parents and rush down to TRfiCK, SCR/ITC!} or ZULU and BOY IT] Itll make you look older and all the other kids are doing it. ^ ValentinqS "weld change our sex before we'U change our music" c&^m <a#ce*ic€*HA presents the newest R&B room In town in the HOTEL CALIFORNIA Nov. 1 Jim Byrnes Nov. 4-9 from Calgary Don Johnson and House of Payne Nov. 11-16 from Winnipeg Mark Aptekman Nov. 18-21 Sundogs Nov. 22-23 Dutch Mason with Drew Neison Band 15-30 Gary Stephens Band SWDEHTSIHmmEWJHI.ll. 1176 GRANVILLE 688-8701 t t't 0 _x CiTR MOBILE SOUND 228-3017 ■ TH _■ ___F^ « 1 k i 1 1 fc? ifeM. PAT WRIGHT & THE TOTAL EXPERIENCE CHOIR by Dave Lang*lie you come we try to find « that will speak to the hearts of everybody in the audience, whether iu When I left Nova Scotia to come here to itudy I knew I wai leaving behind my accen to real live gospel music. There'd be no North Preston Community Choir, Gospelheirs, or Four the MomenL Little did I know that here, in white bread Vancouver, I'd get to see the Total Experience Gospel Choir from Seattle, they perform a lot in Vancouver, as they did in September at UBC. After the concert. I talked with director, Pat WrighL DISCORDER: Pat, I'm Interested to know wh ere you're from and your roots In gospel. PAT WRIGHT: I'm from a little town in Texas, Carthage. It's about twenty miles from the Louisiana line and I grew up the daughter of a Baptist pastor. So I kind of had no choice than to do what I'm doing and I'm glad, very glad. What are your Influences in gospel? Who did you listen to growing up? I don't listen to anybody, to tell you the truth. What we do came from my own childhood experiences. A lot of the music we sing is probably a lot of selections that I learned when I was a little girl, just brought up to date. When I was growing up in Texas there wasn't a lot of black music on the radio at that time. I 'm 47 years old and there weren't any black stations to speak of, so there wasn't that much exposure to black gospel. I knew it existed, from time to time we were able to go someplace, pick up some and leam the music lhat way. So because it wasn't that readily available, I've learned more probably in the last 25 years of my life than I learned in the first 25. You've had a lot of experiences, things have changed in the southern states in that time; how docs that reflect in your music? I'm part of the struggle, that's for sure. I marched in the '60's, I was in college at that time. An, of course, being raised in Texas, I know what racism is first hand. But I must say that it's more here in the North than it was jn the South because at lhat point, and still now today, whites in the south are quite forward about the way they feel and in the north it's very subtle, it sneaks up on you before you know it happens to you. The next thing you know, BAM!I it hits you. Tell me a Mt of the Choir's hlsto- It started in 1973 as a class at a high school. The schools in Washington are funded by levies and it became a very popular item among while students and took away a lot of students from the high school choir. A lot of people in the school at the lime didn't like the fact that so many white kids were getting involved in the choir. So when the levy failed that year, in 1975, they saw that as an opportunity not to hire me back. So I took it from the school and went to the church with it and we've been with the church That's amazing. Tonight was a benefit for African Relief and I noticed that you blended your music between both pure gospel songs and songs about co-operation and working together. To what extent do you contain social messages in your music? We do a lot of songs with a social message because, you see, we ARE the people. If we can't reach you one way, then we'll hit you across ihe head the other way. Either way Is there much of a gospel scene happening in Seattle? Not like it used to be. I used to be on the radio; I was on for ten years as a gospel announcer. Gospel never really caught on in Washington. We're sort of behind. I think you're doing pretty good up here in Canada. We in Washington, and particularly in Seattle, we don't get a whole lot of 'gospel' gospel music, its a whole lot of contemporary gospel music. Crossover music, I guess you'd call it. So kids are not learning what our roots really are and I try tokeepthem interested. It's important that we know our roots, but we're not getting much of that these days. I notice you do a few spirituals, you throw In some jubilees and things. Theinflucnce of people like the Wlnans, is that a good thing or a bad thing? Ils good for them, they're making money at it. There's a couple of songs I like by the Winans. I don't fault them for what they're trying to do, they're making at it, and I'm not really making a living at gospel. I have to do other things to make a living, but that's their way of doing it and I say God bless them, but it doesn't fit my style. mike victory I first became aware of Mike Victory through his work, under the moniker of Sect, on the Vancouver Spiral Records compilation, Sound Generator, and found it to be refreshingly original 'industrial'music. I finally met Mike at the Front Line Assembly show where he opened with Steve Rosin- whom he collaborates with. I was very impressed and decided togel the word out about this shy, but very talented, keyboard-meister. How long haveyou actually been doing music? Mike Victory: Since the spring of '89. What made you start doing th is type of music? I was a pretty hardcore fan of industrial music for a long time, well, for a few years. I had, bought and listened to everything. I was a real supporter. I got to the point where I knew it really well, the style. And I thought it's too bad there isn't more of it to get more of it available. So I thought I'd like to start playing around a bit and start experimenting. The first thing I did get was some guitar effect pedals. I rented and borrowed them and I just hooked them all up to a microphone and this little drum machine...and just processed the hell out of really wimpy machines and it sounded alright. It still is a bit wimpy, but mainly it started just for myself, so I could just play around and actively do something 'cause mu sic was something I had never gotten into. I just didn't have any talent or ambition to be a musician. I just got into it because my friends had the machinery and were willing to lend it to me. Since I've been little I' ve always been drawing and doing graphics and stuff like that I started to slow down when I was 16 or 17, not lhat I got fed up with it, but I taken it as far as it would go. I figured if I could do graphics, why not do music! It sort of grew. My limited success was purely by accident: like luck and accident. I was just in the right place at the right So you got onto Spiral Records by accident? Yeah, I went into Colourbox (a hair salon), where Curtis (Bereza) used to work, to get my hair done (chuckles). I started talking to him and I found out he was doing (records?). I told him I was playing around and he told me to bring 'round a tape, and he liked ill That'show it started. What's the distribution of Spiral like? It's getting better. We have distribution through Chicago, I think Ihrough Silent records, and we have distrtibution in Holland. SoundGen- erator did pretty well for a limited release, considering it was a sort of a frccbie introduction of everybody on the label. It got sent oul as a promo record lo college radio stations throughout Canada and into some ofthe States as well. When it was in ils prime, some ofthe songs did get to number one. The big radio station in Toronto played it a lot I don't know if you know, but the tour was cancelled (the Spiral Records cross-Canada showcase tour that was to include Sect) because there wasn't enough money, due to the recession. It was basically because Emily (Faryna) and I couldn't come up with the money by the end of the month. What about just playing here? We'll do that in the fall...m_ybe in a month, or so-I might just show a video. It seems like the last show I did with Steve (Rosin) went pretty good. I think people were there for Front Line(Assembly) any ways, so lhal was a pretty good audience for that type of music.I'd liketo concentrate on setting up my own studio and get a lot of material recorded and get releases out there. That's the main thing, getting money to get material out to the public so you can get your name out a little bit more. What kind of style(s) would you call your music? The first would be the more percussive based, the second would be the pure noise/barrage and the third would be the more ambient, heavy echo sound scapes that are not so abrasive. I find that noise can be more easily adapted to the rhythm than the ambient, but I'd like to move into, not dance music, but more techno-based. Once I have that, then introduce the more ambient into it-have sort of ambient industrial noise! It's starting lo get like Frankenstein; piecing together things that shouldn't be. Haveyou had any formal train- No, when I was four I had piano for about two months, that's about it. Music has never really been important, never ever. I don't consider music to be as important to me as, say, art As long as I'm doing something creative with myself I'm happy. When Idon't have anything to do or any work, I get mad. I have to have an outlet I started basically because I had no money, that's why I started small. I still have my first tape loop: actually an old commercial tape I cut up, tore apart and taped back together again. I would tape a sound on a tape loop, then have that tape (and) dub it onto another tape, so that the other would just have that loop going on and on and on. Then I would record a different sound and put it on a different tape. Then I would play all these tapes of these tape loop recordings on cassette decks and move a microphone around between the tape decks. So it started out really low-tech. There's something about lesser technology that has certain characteristics and warmths lhat extreme technology doesn't have. Plus, having less sophisticated technology forces you to be more creative, as you don't have all the prearranged programmes that take careofany innovative ideas for you, like pre-designed writing techniques and stuff. Software is great for helping you if it's doing the same lines as what you're doing. But if you're programming to fit your stuff into certain parameters it can get cold. June Scudeler MUSIC 3 It's been said before, but! We'll repeat it.... Shindig is still running strong, and now into the second round. Come out every Monday evening and smell the magic. Coming up at the Railway Club: NOVEMBER 4-Night Three of Second Round Preliminaries NOVEMBER 11- Second Round Semi-Finals NOVEMBER 18- Night One ol Third Round Preliminaries NOVEMBER 25- Night Two of Third Round Preliminaries DECEMBER 2- Night Three of Third Round Preliminaries DECEMBER 9- Third Round Semi-Finals RAILWAY CLUB 579 DUNSMUIR SHINDIG GRAND FINALS AT the cruel elephant 23 west cordova AND LET'S NOT FORGET OUR SWELL SPONSORS: <k Vancouver ^ Studios KNBGAoe S1U0IOS QWUP PUBLIC ENEMY BY TARA SLOAN ^ r<V It was November 24,1991, a Thursday, and the evening awaited by many: The Public Enemy/Anthrax/ Young Black Teenagers/Primus concert, held at the P.N.E. Forum. After much confusion at the CiTR headquarters word was out that the interview with Chuck D of Public Enemy was cancelled. But for some reason I threw my questions, written the night before, in my back pocket and headed out to the show. The bus ride down gave me time to think if it would be worth rushing lo the front of the stage, seeing as no interview was in check. Yes, it was confirmed, I would send myself into that crowd and face the sore achin' muscles the next day. Needless to say I only made it through YBT and PRIMUS and then decided lo forget itl I was front-center, front-left, front-right, back, forward.... The crowd consisted of alternative looking people: head-bangers who were definitely thrashing themselves around and the rap crowd. Picture this; General Admission, not a good idea. Herded in like cattle the audience went wild I Chuck D came on, he was the third of four acts, and spoke out againstthe Canadian Government because his humourous partner-in- rhyme, Flavor Flav, had not been permitted to pass the border into Canada. This was because ofthe charges laid on Flavor for an incident that occurred between him and his wife. It was personal but, of course, the media got hold of some incorrect information, exploited Flavor Flav in an extreme negative light, and shattered many fans' hopes of seeing this crazy-hype individual I Nevertheless, the show went on and Chuck D tricked his rhymes. Terminator X pumped his fist now and then as he DJ'd away behind the great red X that had lights flashing throughout theentirity of the show. The S1 W's did there thing and Chuck D kept comin' out strong. The crowd went into a frenzy and a few fights broke out- Bul there was no real problem with violence, that 1 could see...It was all out WAR!!! Anyways, I got back in the crowd after getting pulled out earlier on. In the process of waiting for Public Enemy to finish their stage set-up I noticed one of my friends above me on someone's sholders. I don't know what made me turn around and look up but I did and that's all that matters because amoungst the ruckus I clearly heard her say, "the interview's still on! M" I could not believe this and so I asked, "What?" She again respond ed, "The interview wilh Chuck D.it's still on!" Well I raced out of that crowd and thought, "Wow! If that isn't fate to just happen to see my friend, I would have never known." Next I raced around and then walked back feeling quite helpless and stressed out while I was looking for my brother who had the MIC and Tape Recorder. So, slowly, I made my way back to where the audience was, when out of nowhere, like a shining light and of course that damn fate again, stood my brother! I screamed something in his face and he then handed me the bag and explained how to use the equipment. By now I was freaking out but, still, there was another obstacle in my path that could prevent me from meeting Chuck D; I needed a backstage pass from one of the ladies at Sony. But I didn't know what she looked like, or where she was, or where to find her! Luckily the guy who was interviewing Anthrax did know who she was because he had just got a pass from her, however, now she was gone. I asked security people, roadies and even a member of the St. John's Ambulance but none were of any help and a few were quite rude! No time for this! My head was spinning and I did not know what to do. Then I heard my name, and "There she is!! ("The pass was presented to me and my mood switched from exhaustion to excitement. For this interview I had been waiting years, and years.and years! My chances had been so slim that only fate could helpmeoul now. ..and it did. (Editor's note: Unfortunately, Flavour Flav couldn't make it to the Vancouver show because of some problems with immigration and access to Canada. The end result was, regrettfully, Public Enemy's last show in Canada—solely a favor for the Anthrax boys. Despite all the difficulties involved with PE's appearance at the Forum, Chuck D was kind enough to grant Discorder(and some mystery peson who went by the initial G.) an interview. Let's hope the brothers work it oul) G: Tell me about the tour and what it meant to you and the Importance of it. Chuck D: The tour has meant a lot. Music is communication—aboul communicating with people—no matter who's doing it. As long as you get whatever perspective out that represents for all and positive progress for the good of people, all of them. D: Are you suing the Malt Liquor com pany because they took a sam • pie from you? CD: Yes. D: And did that make you write the "One Million Bottle Bags" lyrics? CD: No. D: That was for something else? CD: I wrote "One Million Bottle Bags" before that. Il was a coincidence that they used my voice so they are getting sued. G: Why did you feel you had to write "One Million Bottle Bags"? CD: Well, mall liquor is devastating the black community. Now people talk about stopping the violence but I know the use of that type of stuff causes a lot of violence. D: Why doesn't Sister Souljah, the new member in your group, appear on the cover of the new album? CD: Because she's a limited member. She doesn't perform but she does speaking engagements. D: How did you meet her? CD: Doing speaking engagements at colleges. She does them too. She's always working in the community, so things happened to gel. G: You guys encounter a lot of controversy wherever you go, and a lot of newspapers say a lot of bullshit about it, is that what the New York Post story song is about? CD: Yeah. G: Did they Uke aim at you deliberately or just the black community? CD: AH of the above, yes. G: Can yon give me an incident? CD:[The] reason we wrote the song [was] cause they printed Flavor's address in there. I thought that was foul. G: After he was-. CD: After the incident that he was caught on. D: Do you and Professor Griff keep in touch, and what do you think of his career? CD: He lives in the same community . (Of] Course we all see each other, just that he's not working with Public Enemy. We keep in touch, yeah, "Hello, what's up? How's everything?", you know. Has the album come out here? G: A couple days ago, yeah. CD: On CBS Canada? G: Yeah. CD: Did they put the lyric sheet in there? D: No, no lyrics. CD: That's stupid I [Unknown Person who barged in ]You know what's stupid? They censored it. They censored "Dodge." CD: Why? [Unknown Person once again interrupting] I don't know, but everything else....There's no censorship In any of the other songs except that one. CD: "Bottlebags?" D: "Get the Fuck Outta Dodge." CD:: I did that. I didn't feel like... you know, I think cursing is played oul, so I put the censored version, but I like the beeps. But they should have put the lyrics in. So how come they didn't? That's a big mistake. D: Are there lyrics in the American version? CD: I make sure everything is done 'cuzl take care. I'm the one that puts the package together. D: Do you feel that some of the rappers are using the power that they've got over their audiences.. CD: No. D: You know bow there's all this cursing... I know there's the 2 Live Crewand that's ail been discussed but you mentioned X-Clan and how you want to hear wm X- Clan, but... CD: I think rappers only rap what they know. If they're limited, Ihey "re only going to rap limited, you know? So are they exploiting? I don't think they even go that far. D: What role do you think rap should play because there was an article, in Details, and it said that Ice Cube and KRS-One are ruining rap. It's supposed to be all communal, and all fun and stuff like that, and he thinks that people are talking too much self-importance... CD: Who said that, John Leland? Just 'cuz John Leland wrote that D: From Details. Ice-T was on the cover. CD: Yeah, John Leland wrote it. So just cause one crackpot writes the article, you going to follow what he says? D: No, that's why I'm asking you, what role do you think it should play. CD: I think many rappers out there express many reflections from the community. I like B.W.P. but I don't really like all the stuff they talk about I don't think that in order to be a successful artist.. see a lot of people [are] usin' that in order to be suc- D: Yeah that's what I mean. CD: It's gonna work for one and the rest of them are going to fail. D: OK, I think it is Brand Nubian who are in the Nation of Islam— or they are following It. Do you support B lack watch or the Nation of Islam? CD: I support all black organizations that strive for a positive role for the community. D: I heard you didn't, at the beginning, know much about about black history? CD: Who told you that? D: I think It was In some magazine. See that is why I am asking you straight. Because I heard in the beginning you didn't know or you didn't have much and then... CD: That's bullshit. D: So how did you start then? CD: My mother and father. D: They told and taught about every thing? They made you read? Did you read a lot? CD: Yeah. D: And when you went to school I heard you ■*«• » . rtoonist? CD: What magazine did you read? D: Idon't know,I'veread so many. CD: And you forgot which one you read that said it? D: No, there's so much stuff. There's so much stuff In all of them, but the thing is whether it's true of not cause every body changes everything. CD: I don't know where you read that I never knew about black histo- D: I think it was Spin. Do you follow the articles written about you? CD: Yeah. Yeah I do. D: You cut them all out or...? CD: I try to save as many as possible. There's a lot of them. D: Oh I know. I can Imagine. How do you like touring? CD: Love it, but right now I'm homesick. D: Homesick? CD: Yeah. D: You have family right? You've got a wife and a... CD: ...a daughter. So I want to go home and see them. D: How long is your tour? CD: Five weeks, this is the end of it. D: This is the end and then you get to go home or... CD: Get to go home for two weeks and then sun another one for six D: Is there a lot of racial tension or anything at your shows? CD: No. D: I don't think there was any here, it was more like just people getting a bit too close and fighting and stuff but... CD: Naw. No tension at alL We had a show in Idaho tomorrow but I cancelled it. I'm not gonna fly to no Idaho. Fuck that! MUSIC 5 DOIN' DONUT'S WITH ALICE by Paul t.Brooks Contrary to popular belief AHce Donut is a real person. Well, not so much a person as it is fate. Fate dealt out by the hands of the great rawk n' roll creator The She-Elvis. "MichaelfJung.guitarist] was getting his teeth cleaned in Kenarsee(ric), Brooklyn and the dental-technician looked mighty familiar. Il was The King. The King is not dead. He had a sex change operation, married a trucker and moved to Kenarsee, Brooklyn. He's a den- talhygaiist now. He's devotinghim- «e If to flossing and the prevention of gum disease. He said...she said, you're AHce Donut, so that's it," explains Tom Anions. So for the past four albums and an extensive amount of years exploring the under-belly of alternative music, Alice Donut have not been ignorant to the perils of gingivitis. Inflammation of the gums is not a laughing matter. Alice Donut' s new album for Alternative Tentacles is called Revenge Fantasies of Th* Impotent and is a welcome treat, and change, from an independent record market saturated with 60's psychedelia, hard-core and SUB POP. "A lot of people would assume a lot of things about us because we're an Alternative Tentacles...but that's what's cool about Alternative Tentacles is lhat there is no [atypical] sound. All the bands are unique and I think that's one thing that's really interesting about ii....People will come and check us out just because it's an A.T. thing but they like it anyway." Alice Donut are definitely not seeing any hindrance from their typecast label and battle all who try to label them or put a thumb on their sound. In the past they've been called everything from The Throwing Muses meet Pil, to Led Zeppelin meets the Butthole Surfers, and now my comparison to X crossed with Tupelo Chain Sex. "We get the weirdest pegs and il's kind of interesting; it's pretty funny. We get a lot of weirdness." But Alice Donut and weirdness kind of walk naked in a rainstorm holding hands. We're nol talking Tubes or Devo weirdness here but the land of lyrical and musical weirdness possessed by the likes of The Dead Milkmen and a Bugs Bunny cartoon. Collectively, Alice Donut are: Tom Antona(vocals), Ted Houghton(b_ss, vocals), Mike Jung(guitars, vocals), Dave Giffen(guitars), Richard Marshall(guitars), and Steve Moses(drums, trombone). They've just finished up a European and North American tour for the new album in which they enjoyed the fruits of their labour and the many splendours of Canadian and German beer. "It's better, higher proof and tastier than Budweiser 3 % piss- water". So, don't expect to see Alice Donut doing any beer commercials in the future unless they're for With Revenge Fantasies ofThe Impotent the band takes a hauntingly surreal look at society and litters the vinyl with angst, frustration and morbidness. The trend of the last 3 albums has kind of pointed in that direction but nobody expected this monster. Spawned, and fed, by the war in the Persian Gulf, Revenge... focusses on the bleak and dismal with an attack on sinister grooves. Abetted by such lyrics as, "the wife of my best frimd/stares right through me intoAhe tumor of my sick need/ ...flinches at the wheel takes a/vita- min complex to supplement/her meal/.builds the scaffolding for a/ splinter faction of the lunatic fringe/ ...jumps from sillleaving me/to clean all that's been spilt/this ain't right but then/again no one will knowTMy Best Friend's Wife"). and the sickening screech of trombone, Alice Donut have uncovered a tomb which held their schizophrenias captive; indeed, difficult with a 6 member band and the creative input thereof. However, all is copacetic in the Alice Donut camp as they also decided to take a different approach to this record(which they consider to be their best yet), but an approach they weren't unfamiliar with. "We're kind of going back to something we've been doing..Jive and simple. And this one, because of the nature of the album, we just wanted to get it down on vinyl as quickly as possible and get as much of the live feel as possible. It was all right before the war, that's why it's called Revenge Fantasies of The Impotent...it's an album of frustration, says Tom. Hence, the inclusion of the cover of Black Sabbath's "War Pigs". Not your typical cover, of course, but an instrumental which has trombonist/ drummer Steve Moses tooting out in place of the vocals. Originally, it was done on a whim but they liked it, kept it and put it on the album. Eventually, they learned the song but still refrain from adding vocals. Most recently, with the huge success of indie bands making the jump to major labels I was curious to know Tom and Mike's views regarding bands going through this transition. "The most important thing is for the bands to not set their goals on becoming a commercial band but rather just staying out there and being an independent band. I think il depends on the band. A lot of bands have gone and then just can't[deal with it] and they suck or they try to change and whatever. But as long as they do the same thing. The Replacements and Husker Du really died. The major labels killed them. Sonic Youth didn't lose anything. A lot of kids will say, "Oh, man they sold out". [But] Integrity is more than vision. You've got to really want to do the music as opposed to be in the business. When you see the possibility ofTmoving to a major] and then you lose track of why you did it, that's what selling out is about." Conclusively, I don't think Alice Donut fans need worry about a sellout from the band in the near future. But there may be cause for alarm the next tour is sponsored army. Be all you can be...; Might make for another interesting cover ALICEDONUT DISCOGRAPHY Donut Comes Alive LP - Alternative Tentacles Bucketfuls of Sickness and Horror in an Otherwise Meaningless Life LP - Alternative Tentacles Mule LP - Alternative Tentacles Revenge Fantasies of The Impotent - Alternative Tentacles The Ass TrilogyEP - ALternative Tentacles "Demonologist/My Boyfriend's Back" 7" - Alternative Tentacles Alice Donut"Love RollercoasterTDa Willys"Egg" Split 7" - Rave Records "Get A Life, Get A Job" 7" - Vital Records MUSIC 6 Ding! Round One has now officially passed into history. If you haven't been down to the Railway for the past five Mondays you' ve been missing the fun of three young' n' sweaty groups of rock-stars-to-be battling for those "fabulous prizes" emblazoned on the striking Shindig banner which spans the stage. What follows is a recap of the glorious first-round action for all of you losers who didn't show up: SEPTEMBER 23 Zolty Cracker At first, the fourmem- bers of Zolty Cracker seemed to be a little nervous and guarded, but as their performance progressed they loosened up a bit and appeared to be enjoying themselves. Likewise, I initially found the "I'm singer-songwriter" attitude of the lead vocalist a little annoying; however, as the Crackers charged through their set of high-energy busker-folk tunes, their determination and conviction began to make an impression on me. The use of two percussionists gave their arrangements an original rhythmic flavour-it's good to see ie bands realize you can get a driving beat without having to use a conventional drum kit. All four Zolties sing too, and all have very strong and original voices. The hands-down Railway Club Staff Favourites for the evening, Zolty Cracker, finished a solid second place with the judges. Go Guy: More guys with nothing better to do than strap on some guitars and get a dram set and try and make some noise. More guys who can't sing with nothing to sing about trying to sing about nothing. It's never easy coming in third, but all I can hope is that the guys in Go Guy will be inspired to work harder and practice their playing, singing, and songwriting until they become the next Dinosaur Jr. Cuter Than Spunky: The first couple of Spunky songs were blasts of frantic chaos being thrown at the pecting Railway patrons. But by the third song of their short set, the angst - core barrage had been twisted into focus. The combination of frantic drumming and bass spurts with the rolling-eye sarcasm of the singer/ bassist and wierd wank-soundscapes of the unusually-bedecked guitarist managed to capture the audience's attention, and won over the judges, too-Cuter Than Spunky took the night's top honours and proceeded to the First Round Semifinal. SEPTEMBER 30 Terror of Tiny Town: With s like this, I was expecting (and hoping) for some off-the-wall zaniness. What was dished up was a mix n- match selection of styles ranging from country-folk to AC/DC rawk. I really liked a couple of their songs, but the others didn't do much for me. I think this "we're so eclectic" style- jumping thing can get outta hand sometimes. Still, Terror of Tiny Town do have a lot of strong points: good songs, good musicianship, and a singer who shows some real originality in his singing and lyric-writing, a trait far too lacking these days. The Terrors Rumble Fish: Another case where blatent personal bias is about all you can go on. If you like Sons of Freedom-type rhythms and loud, simple rifling with sortaSiouxie-Hagen-Na- tional Velvet-Goth-Vixen vocals, you'll be into the 'Fish'. If not, yer i luck. Personally not my favourites, I still have to give them points for ha ving a friendly and personable singer and for at least developing their own "sound," however dcrivi- tave it may be. Rumble Fish were the 3000 B.C.: Having lo watch 3000 B.C. was really a lest I began to grapple with the thorny question of whether or not it was ethical to subjectively judge olher people's music and publish said opinions for all to see. Yup, it's a damned shame that has to come in last, and forgivemeif I'm too blunt -I thought 3000 B.C. sucked the big long hairy Cuter Than Spunky: After being blown away by this band in the pre- »s expecting a repeat of their inspiring first-round performance. Unfortunately, the Spunkies seemed to lose their touch and were kinda mediocre. I hope they can regain some of the intensity that they demonstrated in the preliminaries. Rumble Fish: See above for definition of Rumble Fish sound. I was sure the judges were going with the 'Fish,' but, as per usual...wrong again, bud. i FIRSTROUNDSEMI-FINALS ■ The winners of the three previous ■preliminaries gathered again on the long haul to rockstardom; some really tasteless jokes were told; and a major upset occurred, living up to Shindig's reputation as the most unpredictable show on earth. Groove Ranch: Another set of "how ya doin' tonite" rock'n'roll, complete with an ass-licking "thanks to everyone at CiTR, we think Shindig is such a great event blah blah blah" speech. Hey man, we know! The nail in their coffin? "This song's being played on Coast 800!" Ooops! Sorry boys...GONG!!l As we say in Jokes for Beer... what will we give these bands? Cuter Than Spunky? Two Beers! Groove Ranch? One Beer! Rumble Fish? No Beer! Like life itself, it helps to think of Shindig as a big, bad joke. So come on down and laugh along with us (or at us) every Monday, at the Railway Club, 579 Dunsmuir. all photos by Len Whistler n NOVEMBER! Get jn Free!!! CTOW YTHMIC UNDEICIOUND E_J2 THE DEFENDERS ACTION BUDDIE CARDIFF REEFERS DEATH MCSKATE BENEFIT THE ANDY O BAND HEY! THATS MY BIKE GANGA FARMERS THE CRAZY 8S BIG BASS THURS HOSTED BY DJ BOY WONDER OPEN AT 8PM SUN. TUES & WEDS HALF-PRICE HAPPY HOUR 8PM - 9PM OPEN AT 6PM THURS. FRI & SAT HALF-PRICE HAPPY HOUR 6PM - 9PM Live From Radio ThundertDird Hell* 10—11 pm Lfctonto 101.9 fM on y©r Radto Dial In othor words, tun* in tor torn* real lv« local band action. Nov 7 • Alton ♦ th* Psychos Nov 14 • Sparkmarkor Nov 21 • Mothortruckw Dm 5* Just Add Water D»sc 12 • GoGuy Doc 19-Rusty Nails CIGARETTES $2.50 FOOD - POOL TABLES 1305 11TH STREET BELLINGHAM, WASH EXIT 250. 1-5 SOUTH I 1(206) 734-1539 | music 8 I probably need my head examined. Three friends and I rented a car and drove to Tacoma just to sec Pigface. I braved traffic from hell through Seattle, rawk'n'roll groupies, and drunken, drugged out musicians for a change to experience the unlikely grouping of people as diverse as Martin Atkins (Killing Joke, Ministry, P.I.L.), his Killing Joke cohort-Paul Raven, Ogre (Skinny Puppy), Chris Connelly (Fini Tribe, Ministry), Mary Biker (Gaye Bikers On Acid), En Esch (KMFDM) and McGuire (Dogzilla-ftom Austin, Texas). The end result was noisy, spontaneous and eye-opening. We found the 'illustrious' Temple Theatre in the Wasteland that is Tacoma. Armed with a tape recorder and a Pigface EP waiting to be signed, I take a deep breath and walk confidently up to Chris Connelly to discover he actually remembered me from our interview in Chicago-oh gleel We set up an interview after soundcheck, but I managed to see a bit of the momentous evening. It was mighty strange to see Ogre with no stage blood or sheep's intestines around his neck. I had met with Ogre at Front 242 and found him to be quite affable, not the paranoiac of rumour. He shuttled my friend and I to Martin Atkins and we trotted downstairs to do the interview (this is the part where you get to read some of the interview with Chris Connelly, eh?) On Pigeonholing People have said this is just a bunch of fucking around, blah, blah, you make up songs on stage. I happen to think it is absolute fuckin' brilliant, but what people don't realize is that we don't get much money from doing this, compared to what we get doing our other things. We're doing this because we want to. There's sixteen people on the road. This equipment we take out on the road, we brought this lighting rig, is twenty grand a week for that light rig, the bus, and the truck. We flew everybody in- Nick (En Esch from KMFDM), flew in from Germany and Ogre from Vancouver. It costs a fortune and it takes two people five months to put a Pigface tour together, not including the agent. We have a bagpipe player again tonight. Every Pigface show is supposed to be different. I think if people are having a hard time with Pigface it tells us a lot about what's going on in music-nothing I Pigface excites me, a year and a half after it started. I have no' idea what's going to happen tonight; it might be crap. We're not going to play the same songs all the way through the tour, so I think it's healthy. I think it does good things for us as individuals and as musi cians, for our craft And it does good things for us to take back to the other projects we're involved in. People say this isn't a regurgitation of things they' ve already seen. We don't know what's going to happen. So, come with us on this journey and let's see what happens. I think it's wild. On Running An Indie Label (Invisible Records) Cash flow is difficult; time is difficult. We work until two in the morning sometimes seven days a week. It's difficult, in some senses, but it's not insurmountable. I'd like to take ads out in Spin. I think if more people knew about Pigface, more people would listen to us and more people would be challenged. I think it is a challenge to watch and listen to Pigface. If Pigface is just too nasty for some people, too left field, it might generate some interest in some less left field bands. On Doing the Tour Thing We had a great situation in Florida. There's a promoter called Fat Harry who has ripped off Skinny Puppy and other bands. Suddenly, he's doing a Pigface show. We just circled him and the guy just makes a fearful noise. Everywhere he turned someone was saying "You ripped us off I", so I said, "everybody go to your dressing room, I'll talk to this guy." He gave us a bonus before we went on stage. Some of the shows were going for like 2 1/2 hours, with people setting fire to things. I went outside, ran down the street, collected some trash cans, came running back, found two hammers and joined the improvise encore thing on stage. Also on stage was the guy playing bagpipes;the guys from Silver- fish-who were opening for us- came running out and set things on fire and threw all these toilet rolls onto the stage. It was totally wild. They turned off the PA and the lights off, but we kept going. Also on the last tour, we kidnapped Marston (Bozz McCoy) from Thrill Kill and got him drunk in Chicago. He woke up on the bus in Kansas. So he's going "O.h, my God. What happened, what's going on?l" He came on stage, he didn't know what the hell was going on. We had a life-size cut-out of Rod Stewart. Michael Batch from Front Line Assembly came out completely covered in adding machine tape and did an incantation in Latin. It was fucking wild. Pigface Things To Watch For Pigface is not an easy listen. Welcome to Mexico Asshole is taken from sixty shows on the last tour, all recorded to death. Mexico is just a different part of Pigface we got to record. Coming out is an interview vinyl and CD with six songs that aren't on Mexico: including in terviews with Ogre, Nick, me and Bill Rieflin. Two of the guys from the Pixies play Flamenco guitars while Ogre is talking about being tossed around while being thrown out of Mexico. People keep asking what is Pigface? It's this album (Mexico), it's Spoon Breakfast, it's the Gub album, it's as many live shows as you can see and the videos and all the rest of it The Real Story Behind Those Weird Pigface Album Names I don't know if you know the story behind this. I had a cat named Gub—that died while I was in England- Spoon is Chris Connelly's cat, and Breakfast is our other cat. So people are thinking, "Spoon, ahh, it's about heroin. It's about having heroin for breakfast!" It's not; Atkins was expansiveand very helpful. Pigface were, on the whole, not Rock Stars, just talented people making a living which sounds corny but true. (Be sure to read with just the right amount of earnestness.) I wandered around and found Ogre perched on a fire escape (with appropriately enough, no stairs I). He removed his 'Realistic' headphones and muttered something about the new Puppy album weirding him out and his hat making him hall u- cinate-if I wore a hat with "Slut" emblazoned in metal onitlmight get strange too. He gave me the headphones so I could listen to the next Puppy as he shuffled off to find his whiskey bottle. It was very relaxing to sit in the open doorway and listen to Puppy until Ogre reappeared to discuss horror movies, his personal plans and the next Puppy tour—something about a Mylar Pterodactyl with film projected on it. I found Ogre to be quite bright and smiley. Go figure! I drifted around some more. The bagpipe player and I decided that Chris shouldn't wear a kilt as his knees are too knobby. He also revealed that Chris was a poet before he was a musician. He didn't answer why he couldn't be both at the same time but he was intent on how much acid to drop. Finally the show started and I watched from the wings. As it was their first show on this tour, and Pigface is synonymous with spontaneity, it was pretty loose. The surprise of the evening was how riveting En Esch is on stage: he was extremely intense with his bald head and cadaverous frame. Ogre rambled around the stage, hugging and bumping into people, having mock fights with Mary Biker. The music, like the members, was extremely freewheeling and it would've been interesting to compare this, their first show, with a later one. The standouts were "Suck," which Ogre sang (growled?) instead of Trent Reznor, and also a kick-ass of Puppy's "TFWO," plus a host of new songs. The set was too '.hort with no encore (which seems to be a disturbing trend!) I went back downstairs to say good-bye and found Ogre laying on a make-up counter in a dressing room, where he acci- dently smashed a light with his boot. I gave him a quick hug and we promised to do coffee when he came back to Vancouver. Then blonde women with little black dresses appeared who should have had signs saying "fuck me" on them. I almost got wine poured on my shoes by Will Tucker and I heard the sounds of bottles being broken—it was definitely time to go. Pigface are genuinely trying to do something completely new and experimental. The good thing about this is that it can be challenging and inspiring or, the flipside, sloppy and self-indulgent. The Tacoma show probably fell closer to the.good end of the spectrum rather the bad. (the producer of the new album:) HE THOUGHT ROB WAS A SERIAL KILLER, HE THOUGHT I WAS PETE SEEGER'S ILLEGITIMATE SON—HE HAD US ALL PEGGED. Derived from original photos by Kevin Statham 7hieeaf the ifhmis arilonagri'ft metat theKi^fagiVpuh it the i^eJ format 9 o'clock It's aprettymatto har. tht ustaf. with a darttma'ari'a TV. I' apected'to see rWhallothut m/'/dly etough it ros a rtmw glrltg tilth. The ittermw that folbmd vs eaw/lf off the. roll ari' ettertaltitg. Ymcwmr's em tint fydt tfhws ham playedsome, aatygigst a tew layers' oka, tiixk anartxes, aJidges' anaigtmetticome- ifpaaS*), PaulMe ari Art Bergman's old drumer's mddiag. ari to top it ail off, a spouse-sroppieg coemttloe (posho under the auspices of the J&F, I Might add. Lucky it didtthapiyet just hefbm the electa^ The four of us tallied fbromrae hour so what you ham hi mr heads h the Disco/der-edft mrsxn. Sadhf, Much of thefiiciest rock gossip cm the repeated here hut if you catch me at y I Might share some rdth you. OK, FIRST OFF...NAM R: I'm Rob Thomson, I play guitar and sing in the band. ZODIAC SIGN? R: Gemini. AND WHAT ARE YOU DRINKING TONIGHT? M: But don't forget, the home team lost when we played. R: Sure enough, but they went on to win. M: Mixed luck, we have mixed luck. NO MORE HOCKEY GAMES IN THE FUTURE? R: Actually, we're going to one tomorrow night, but we're not going to play. Just watch. HIE THE NERVOUS FELLAS HAVE BROKEN UP? R: Yeah, they WERE one of my favourite bands. Actually, I heard Sean's got a new thing, so that's my favourite—Sean Murphy's new band. (Other favourites: Stingin' Hornets, The Dots, Jimmy Roy and the Hillbilly Boys, The Last Wild Sons, NoMeansNo, Spirit of the West) WHAT SORT OF STUFF DO YOU LISTEN TO AT HOME? R: I'm drinking lager. S: I'm Maynard, *Smylie," and I play bass guitar and sometimes the bucket. I'm a Leo and I'm drinking whatever Rob ordered me. M: I'm Mike Turner and I'm kind of thejanltor-l play a bunch of different Instruments and I'm on the cusp between Leo and Virgo. YOU GOT TOGETHER IN 1967, AND YOUR LINEUP HAS CHANGED SOMEWHAT R: It's changed a little over the past few years. We've gone basically from a street band to a club band, now we're better at playing the clubs than the streets. We've got rid of some of the acoustic instruments and brought in the powerful... S: (ominous tones) BASS GUITAR. M: Rob's playing more trumpet now. R: We should play some Canucks' games this year. WEU, YOU DID PLAY... R: We played the Edmonton Oilers' game, the first one in the playoffs 2 years ago, and they went on to win the Stanley Cup finals. You'd think the Canucks would've picked up on that. Wa tha dhcussedex-lfhmrs. Cm Is siitMu musk ot Berkeley, aether is a probe member cf the Saxrfert^ty.AtdyfaWtl'sphyadWth them, md they've acta though a bt ol'drmmars. We iafhsda^itefrmatagemetfatTeawvits- vhkh hi rthdr mmagemett adjust their agut. They tae maoge themselves, except It theEast. where rVmQrtedi tfo also mmagesfi&rk Oyster a*tbeets the Taw Hmtershad ads as their monger md DO YOU HAVE ANY FAVOURITE LOCAL BANDS AROUND TOWN RIGHT NOW? M: Herald Nix, RootsRoundUp, Bob's Your Uncle... R: I like the Rattled Roosters, Chris Houston and the many incarnations of his Evil Twang... M: I think I'd like Coal if I saw them play. R: One of my favourite bands in Vancouver is the Smugglers, (general assent around the table) DID ANY OF YOU GO TO THE FUGAZI GIG? M: No, we were ID'ed and they felt we were too old for the gig. R: Who wants to start? M: Well, I like Meat Puppets, Gun Club and X. I also like a lot of old American and British folk stuff, like Ewan McColl, Phil Ochs—more journalistic narrative songwriters; folkie people. S: I just bought the Bare Nakes Ladies tape and I've been listening to that a lot. They're great. I went to see them a couple of times....I listen to a lot of reggae: Bob Marley, Peter Tosh. Rob's turned me on to the Ventures. I listen to a lot of old stuff: Pink Floyd, Neil Young, Bruce Cockburn. R: I listen to XTC, Elvis Costello, Squeeze, the Pogues, Violent Femmes and about six Ramones albums, which I put on before a show to get the energy happening. S: And I'm battling him with Jimmy Cliff in the next bedroom. R: We're roommates, so every night before a show we're putting on the music and getting dressed—we have the doors open and It's like a wave of music comes out.... S: It's like a dance club. R: And our other roommate who's an athlete gets very confused. YOU DO A LOT OF TOURING AROUND CANADA. WHAT'S THE FURTHEST FROM HOME YOU'VE PLAYED? R: Cape Breton? M: Sydney. The Capri in Sydney, Nova Scotia. R: That's right. We played there one afternoon in the hopes of getting a night gig. We played three one-hour sets In the bar. There weren't very many people there and we didn't get to play t night. We left right after that. M: We ended up going to Louisburg (Lunenburg?) for a band vacation on the road. Fort Louisburg is economically depressed, so what the government did when they opened the fort was hire all the locals, who'd been laid off in the fishing business, to dress up as old sixteenth-century Frenchmen. We got there at the end of the day so they were trying to sneak cigarettes and stuff. We turn a corner and they're looking like an outtake from the first Pogues album, sneaking butts.. .itwas funny. Then we talked Newfie politics and went home. YOU FLEW OUT THERE. DO YOU EVER ALL TRAVEL IN THE SAME VAN? R,S,M: (chorus) Oh yes. M: Except on the first tour we travelled in two vehicles-altttle van and alittle ear-both brand new 1988 Mazdas. 9 people in the van... M: ...coming from Toronto to Winnipeg in the middle of winter. R: The van seats 6 people comfortably, and 7 now, which is fairly comfortable, but you can imagine nine...It was a bad thing. And there were some people in the band at that time...their bathing habits.... M: And everybody smoked and drank In the van. Man, that was awful. I had to throw some stuff out when we got home.The smell....I had a McDonald's hamburger wrapper pressed against my sleeping bag for 48 hours straight and I could nAver get the R: How much is that per page? M: I don't know, 8 cents a page....And Ingrid does commercial design work. And who else? R: That's about It. There's nobody else In the band. NEXT WE DISCUSSED COVERS. M: Our philosophy is if we take a tune that's really heavily dance- oriented we try to make It sound older... more like a traditional tune. And if it's a traditional tune we try to make It sound more like a contemporary tune. M: The challenge is using the endorsement creatively. DO YOU EVER GO OUT TO DINNER AU TOGETHER? R: When we're on the road we do it all the time, which is actually kind of weird 'cause I know a lot of bands who just do their sound- checks and go mOK, we'll meet back here at ten" and that's it. But in our case, we do the sound- check and go "What're you guys doing for dinner?" and then quite often we all go to the same place and sit together. AND ASK FOR A TABLE FOR SEVENI R: We do. I know other bands that go to restaurants together but they don't sit together. smell out of that little square. R: There was a time In Toronto when we were driving around for 2 weeks and the van just stunk. About a week later we found a carton of milk that someone had put in the side door and it had turned into cottage cheese by that time. (To Rob) I KNOW YOU'RE A WAITER BUT THE OTHERS... DO YOU AU WORK? S: I do carpentry-type work. R: Ike, the drummer, works at the same place I do and Paul is a window-cleaner. Pierre is a self- employed musician, does studio work, guitar lessons... M: I do a bit of freelance writing and I have a book coming out on Pulp Press in October, called Company Town. buvit-S 10.95.135 pages. THEN WE TALKED ABOUT PRESS COVERAGE WHICH LED TO THEIR RECORD RELEASE, WHICH LED TO THEIR SPONSORSHIP AND ENDORSEMENTS. I S: We may be doing a product" placement In our video. R: Maybe a condom- M: A condom company...maybe Bud Country, Budwelser Country. R: They have a condom out now? M: Yeah, a tin can but it's honed down a bit. They're recycling their cans in the name of safe sex. Some people may have a problem with sponsorship and product placement but if you believe in a product... and we certainly believe in beer. We believe in safe sex, for example, so having product placement would not be a problem for us as long as they don't directly place the product on us. S: As long as it's done with taste and helps us achieve our goals and get what we want. Ihavettseat/mdduyetsoldmtloaeeheie thatemkm mmdip. Ida htoe. homier, that the tee Hani W titers dbm is out t* It's called The Fhxl Fnmtiermd'ms recorded'itTonttoatSomas IrtaK/aya ihare theyvertedwith Kavk Dofe tha fxstetglteer of a star-studded cast: HaUmdOates. Pima Kpss. Kiss md'flaa fxM DoitJustsimd there, go get Iff Thus 'IfyEmihy wtth &b. Smfle md Ijikf (.that's dockefse awmd the tabie) amdides. W that, yu may ask were the other liters doltf Well. I meat sure, but I thitl IM vs at hoot //statists the tew/feta/lko album. ESSM RThe worst was when there were AROUND" WITH MUDHONEY Bryce Dunn Every good boy deserves fudge. Every good boy deserves a chance to interview one of his favorite bands, and for this happy-go-lucky interviewer my dream has come true. So after an EP, an LP. various 7"ers and tours around the globe it was time to sling a little mud and see whal exactly Mark, Matt, Steve and Dan had been up to recently. My discussion with Steve (guilar- pyTotechnics) Turner began with their tou rs of Europe, North America (with up and comers Gas Huffer) and The Land of The Rising Sun (by the lime you read this article). Having conquered Europe (particularly England) on many occasions-including last years headlining gig at the infamous Reading Rock Fcstival-this trip would sec Mudhoney leaving a two week trail of pleasure for adoring fans and disillusionment for British rock critics. Could this new album and lour reignite the spark inside those cold hcans?"It'skindagoncupanddown with us," says Steve." They liked us a lot at first, then last year they didn't like us very much and we attributed that to our haircuts [two members now sport very short do's; Matl's remains unchanged) but now they' re used to that, so now they can deal with us again." After a short break, Mudhoney are now on their way from coast lo coast across the U.S.A. wilh some fairly new North- West talent collectively known as Gas Huffer. When I asked, "Why Gas Huffer?" the answer was simple. "We know them. We like them. We thought it would be good for them." Indeed it has. With Huffcr's debut LP, Janitors ofTomorrow, jusl released, this lour wil] help spread ihe word that Gas Huffer is a force lo be reckoned wilh. Lastly, just when you thought it was over, it was off to a 4 show, all expenses paid jaunt across the Pacific to Japan. Following in the footsteps of such bands as Pussy Galore and Sonic Youth. Mudhoney were out to show they were leaving no stone unturned in their quest for world domination. The revolution will not be televised. Every good boy deserves fudge. Not only is it the title of their latest effort on SUB POP bul also an outlet for women's groups lo scream "Sexism!" while Ihc rest of us scratch our heads in confusion. For Steve Turner, however, this is how the title came about: "Me and Mark were at our practice ^placc, and normally we tunc down our gui- MUSIC 12 tan, and we were trying to figure out how to tune to E-what the actual notes were. When il (E.G.B.D.F.) popped into my head we realized those weren't the actual notes we were looking for. So we thought that was pretty funny and as a joke we told SUB POP that was what we were going to call the record. And they believed us." Well I can believe it, and so can the radio stations across the country, as Every Good Boy Deserves Fudge soars up the college music charts-much like 1989's self-titled LP. The only difference between the two, however, is the approach in music. Gone are the crunching, wah-wahing guitars, whipcrack snare and deadening bass groove in favor of harmonica, organ and the feel of we-just- stcpped-off-the-set-of-"Hu_abaloo". In other words the 6-6-60's are back for Mudhoney. Is this a step in the wrong direction? "Not really," claims Steve. "It's just whatever comes out at the time. I really thought 'Touch Me I'm Sick" wa^a total 60's riff anyway. It comes and goes. The Blue Cheer/ Siooges thing has run its course with me and we are pretty aware that we like a lot of different things. It's always interesting to try new things even if it's nol new necessarily." For the time being this strategy is paying off, for at one Flipside reviewer notes on the new record,"Mudhoney fail to hold their grunge throne and I'm fucking glad 'cuz another LP like their last, or even Super Fuzz... would have gone over like a lead weight. Not that I didn'l like those records/ songs, it's just that every other band all of a sudden 'discovered' hard-heavy-rock-punk a.k.a. grunge." In response lo this Steve makes an affirmative stand, "There's a lot of really horrible sides to the Seattle rock scene; a lot of really horrible bands on major labels." About the Seattle scene in general Steve says, "Don't believe Seattle's reputation. The city doesn't matter. You have to judge a scene band by band, otherwise mediocre bands slip through the cracks." Yet, Mudhoney believes lhal there are also good bands in Seattle and they try to see ihem whenever possible. Some of the bands they mention are The Gits, Gorilla, The Night Kings and Flop. Every good boy deserves fudge Every good boy deserves a shot at the big time and you would think that by now Mudhoney would've had the chance. Sitting comfortably on the SUB POP roster of ever increas ing size as one of its top revenue holders it seems only fitting that this latest effort would have phones ringing off the hook or record execs falling over themselves to get a piece ofthe Mudhoney pie. Alas, not yet. They can only sit back and watch as former SUB POP bands like Nirvana (now Geffen/MCA) and Soundgarden (now A&M) relish in the splendour of the big time. But does this have Mudhoney worried? Are they feeling lonely and rejected by their peers? "We feel the same as we always have about ihem," Steve points out. "I understand exactly why they moved on and at some point we may have to as well. It's not much more corporate going to a major, really, than being on a major independent." For the time being, it seems Mudhoney are content on being where they are, bul don't be surprised if the next time you see them they're sporting brand new haircuts and sipping champagne. Every good boy deserves fudge. These good boys deserve a break too and the sooner il comes the better. After touring and tributing cuts to two compilations (a Northwest Damned tribute and Nardwuar' ond compilation LP) Steve tells me Mudhoney will be on the backbumer for a while, However, he will not stop playing as he gigs occasionally with fellow Mudman Mark Arm and Ed Fother- ingham (artist extraordinaire for E.G.B.D.F.) as the Thrown-Ups- known exclusively for making song s up on the spot and spewing foreign objects on the audience while dressed as Elvis impersonators or huge sunflowers. If this isn't your bag then you can tune into your fave video channel and see their brand new visual masterpiece for "Good Enough," directed by SUB POPpho to-mogul, Charles Peterson. In any case, Mudhoney are here to stay whether you like it or not. And if I could sum up the Mudhoney philosophy in 25 words or less I think it would be: if we're "Good Enough" and we "Let It Slide" then "The Money Will Roll Right In." My prayers go out to you boys cuz I think you may just get what you wish for. Mudhoney Discography Touch Me I'm Sick/Sweet Young Thing Ain't Sweet No More 7"- SUB POP Superfuzz BigmuffLPSVB POP You Got It/Bum It Clean 7"-SUB POP This Gift/Baby Help Me Forget 7", 12" (inc. Revolution)-SUB POP Mudhoney LP-SUB POP Boiled Beef and Rotting Teeth EP (Import)- SUBPOP Thorn/You're Gone/You Make MeDie(with Billy Childish) 7"-SUB POP MudhoneyPlaysHateThePolice...EP-V/i- Let It Slide + 4 CD Single-SUB POP Every Good Boy Deserves Fudge LP-SUB POP Masters of War/My Life With Rickets (The Free-Wheelin' Mark Arm) 7"-SUB POP Compilations Mudhoney "Halloween'VSonic Youth "Touch Me I'm Sick" split 7"-SUB POP/ Blast First "24"-Dope, Guns, & Fuckin' In The Streets Vol.1 - Amphetamine Reptile "The Rose"-_l/S POP 200-SUB POP "March To Fuzz'-fit/rns Half Rae k-Eslrui Mudhoney "She's Just 15"/Halo of Flies "JaggedTime Lapse" split7"-Amphel_mine Reptile "Stab Your Back"-Anolher Damned Tribute Compilation- Dashboard Hulagirl NIRVANA Nevermind (MCA) It would've been so easy to make this a one word review by using a word synonymous with Nirvana (ie.bliss, euphoria, rapture). But that - would have been a cop oul Anyways, someone who thinks of thern- self as being artsy or witty will probably do it in Hype, Spin, The Melody Maker or (cringe)TA* Georgia Straight. But until you read thai in some other rag of tripe., .nevermind. After an LP (Bleach) and two T releases ("Sliver"; "Molly's Lips" with The Fluid's "Candy" on the flipside) on the infamous SUB POP label. Nirvana have been matched up by the corporate weasels at MCA, lucidly. Otherwise, Fugazi and Bad Religion were in danger of having their claim to highest-selling indie bands matched from their proverbial clutch-purse as this Seattle reiro- core/garage-punk trio launch a ground attack on all musical camps with their premiere DGC/MCA release. Nevermind. Unfortunately, now they're in the same boat that Sonic Youth were in when they released Goo. What use to cause tidal waves in the realms of college charts now is witnessed to be but a ripple in the pools of suits-who hold the contracts for our fave indie bands making that transition to the big leagues. AU goo aside, Nevermindpicks up from where Bleach left us hang- ing-by our bamboo-shooted fingertips precariously clutching to the ledge of immortal resonance. Huh?...nevennind. In simpler terms Nevermind whittles your appendages to the marrow. Kurdt Kobian, guitarist/vocalist, must have experienced some of the same torture because his diamond-scratch-glass vocals on tunes like "Territorial Piss- ings" and "Stay Away" make it hard to believe that he doesn't live off a steady diet of Vic's Vapor Rub and throat lozenges. "Smells Like Teen Spirit" is the first single, and probably not by coincidence, the first song on the disc. Like many of the songs on Nevermind, "Teen Spirit" sneaks up on you and fondles your cerebral cortex until you're rendered para lyzed or choking on your tongue in a raging fit. It's a surprising edge-of- your-seat blend of full-bore aggro- hardcore, bass/drum/guitar attack and an undistorted, rockabilly, come -hith- er-if-you-dare, 2 note guitar whisper. Not to be outdone by the rant and rage of "Teen Spirit" are "Breed" and "Territorial Pissings," which con - tribute an even healthierdose of angsL "Breed" is a quadruple-time primal bashing accentuated with psycha- dirge guitar while "Territorial Pissings" is a straight ahead hardcore tune that hurts the senses. The drams and guitar keep up a furious pace while the vocals stream behind in a screaming attempt to outdo the rhythm section. This is only one example of Kurdt's need-a-lozenge vocal, um, technique(7). Unlike Bleach, Nevermind bounces with diversity. And just as Kurdt and co. pummella, pummella. her back hurts/She's jusl as bored as me/." 'Nuff iaid(7). "Something In The Way," on the other hand, is almost angelic. Is that a cello in the background? Well, some kind of symphony string instrument is sighing in the background while Chris Novoselic (bassist) and Dave Grohl (drummer) dronefully float behind Kurdt's serene vocals... nevermind. Prior to the release of this album I was fortunate enough to aquire a bootleg copy of 3 songs oaNever- mind, including "Breed" and "In Bloom," which I didn't think would make it to the album. However, I was proven wrong as indeed they did make the transition to the bigger format. "In Bloom" is a slap-happy, back tobass-ics groove which keeps you wanting the guitar to reach out and pluck you from your happy place. "Sell s the kids for food/Never changes mood/Spring is here again/ Reproductive glands." Can there possibly be a happier place than (N)nirvana? Eden? Utopia?.... nevermind. Well, until any of us find that sacred place let's be happy that Nevermind is steadily rising as one of 1991's best albums-not a bad acheivment considering it's already late in the year-and should continue to be well into the new year. In conclusion, the uncontested kings of riff-core arc back with a vengeance and a nauseatingly catchy release...nevermind, "Tm so happy "cuz today I found my friends/ They're in my head/I'm so ugly, that's okay 'cuz so are you." Scooter SEAWEED Despised (Sub Pop) Some dork-head at the VOX in Cal - gary wrote a review of this record while trying lo do his homework. "YOW! It's rock, and not very good rock at that!" he wrote. I suppose he was hoping pummella the listener into submission, they wake you with a potpourri of smelling-salts in the form of "Polly" and "Something In The Way." Both are acoustic ballads-I use the term loosely-but not your typical life-is-good-cuz-I'm-in-love- with-a-woman-who-has-domesti- cated-me-to-lhe-point-of-where- rm-happy-cuz-I'm-sad. "Polly wants a cracker/Think she wants some water/To put out the blow- torch/...Polly wants a cracker/Maybe she would like some food/She asked me to untie her/...Polly says reek. True, when ya pop it on for the first time, but this is one of those records that takes a few listens to get into... and as everyone knows, those are the kinds of records which stick around in your collection, know what I mean? My only complaint is that the production doesn't allow you to experience the overwhelming energy lhat these songs take on when performed live-and of course, you can't watch Clint, Wade, John, and Aaron frantically wobble around on stage while Bob pounds out the backbeal. It sounds a little flat, but at least you can hear Aaron's singing, and he's got a good voice, and the lyrics make good reading ifyou pick up the CD (which has ten songs). These thrashing Tacomaites should be up here again soon, so be sure not to miss 'em next time. Rory Talt RED HOT CHIU PEPPERS BloodSugarSexMaglk (WEA) Here are some cool facts about the Chili Peppers' new album Blood- SugarSexMagik: the whole album was recorded in a haunted mansion in the Hollywood Hills; the Chili Peppers are no longer wilh EMI, or longtime producer Michael Bien- horn; the Chili Pepper- are now with Warner and producer Rick Rubin; there are 17 (yes, 17!) songs on the new album (three of which are slow, acoustic tunes) totalling 74 minutes in length!; Traci 1-ords, River Phoenix and Faye Duna way are all fans of the Chili Peppers! All together now, WOW. My point is there is a really weird vibe happening on this new album (Imean, the haunted mansion thing? Weird.). But don't get me wrong, it is still distinctly the Chilis, but, well...shit, I really don't know what I'm trying to say. Let me put it this way-I've been a Peppers fan since 1987 when they released The Uplift Mofo Party Plan. Ever since then I've loved their style of positive, party punk-funk. Then I think, "Man, that was almost five years ago." In five years a band can change (unless il's ZZ Top), and should change, otherwise things get stale. And I think BloodSugar- SexMagik represents a change in the Chili Peppers. The new album is great, with all their standard tunes about funk, sex and friendship. There is no real speed punk-funk like past stuff, it is more like funk-rock. Producer Rick Rubin has obviously influenced them enough to get some slow songs out of them. Man are these songs cool. Imagine an acoustic guitar, a Led Zep "Stairway To Heaven"-type flute, a funky base and slow beat, and you have a slow song Peppers style. My favorite tunes, and coinci- dcntally the besl tunes, to crank lhat volume knob on are: "Funky Monks," "Suck My Kiss," "Mello wship Slinky in B major," "Give It Away," and "Sir Psycho Sexy." My only complaint about the album is its length, at 74 minutes some of the tunes can get rather repetitive. You get the feeling they just went on a writing frenzy and said, "Fuck it, we'll keep 'em all." I am concerned that not all the old Chili Pepper fans will like this new one. But you lose a few and you gain a few. So, to end this damn review on a high note let me put it this way: the Red Hot Chili Peppers are still the funkiest, rowdiest, most passionate, get naked and party musicians around! Don't under-estimate their power, hahahaaa! O.K. I'm losin' it. Now all I can say is, "WHEN'S THE CONCERT?!" Harrison Barr Billy Bragg Don't Try This At Home (Polygram) With Don't Try This At Home Billy Bragg appears to have completed the journey away from the unadorned guitar-folk he began five years ago on Talking With The Taxman About Poetry and continued on Worker's Playtime. His new album has few musical hard edges, and while Peter Buck's mandolin gives some of the tracks the working-class sitting- room feel present on earlier albums, the overall production is designed to attract more than Bragg's original folk-rock fans. In this new territory Bragg is clearly successful. The songs are attractively textured, and Bragg's vocals arc more controlled and haunting than ever. The first ever single, "Sexuality," must be Bragg's biggest hit yet. Catchy, funny and thoroughly danceable, it should be getting more notice from club deejays. "Cindy of a Thousand lives" would have been unthinkable for the Barking Bard in 1984. A startling cross between psychedelic Beatles and The Jesus and Mary Chain, "Cindy" is clear testimony to Bragg's committment to a more complex musical presentation. With greater musical complex - ity has come more lyrical ambiguity and elusiveness. This is partly due to Bragg's habit of using slightly obscure and localized British allusion, but even more so because Bragg has become particularly introspective. This self-consciousness appears to have been conditioned by the socialist songwriter's concern about world events. "North Sea Bubble" is an indictment of British capitalist dependence on war, but it is also a defensive articulation of Bragg's own position as a socialist in a continent that has been rejecting socialism. While the song may well been convincing his argument that "no one idea/ < an solve every problem on Earth/...You can borrow ideas/ But you can't borrow situations" leaves his own idealogy insecure. Thus, in the pretty "Dolphins" a political pessimism appears. As Bragg sings "I'm not the one to tell/This world how to get along/...this world may never change" he appears to be in the mood for reconsideration. Some of Bragg's new thoughts are both surprising and tough to evaluate. "God's Footballer"is a strangely sympathetic ballad about a religious zealot. It contains none of the overt criticism expected from the Bragg of old. As usual, he is ready to expose his bittersweet lovelife, as in "Wish You Were Her" and "Body of Water." By now, everybody does know how much Billy's body hates him. What is perhaps surprising on an album with the single "Sexuality" is the lack of an explicit statement of or about feminism. In fact, women seem to continue to play the role for Bragg of either personal or political problem. The Cornflake Girl from "Body of Water" is the same representative of consumerism, the same fashionable "dedicated swallowerof fascism" whom Bragg criticized years ago in "The Busy Girl Buys Beauty." At times, he almost seems to hold women in contempt, and it's hard to be sure that it's not Bragg himself who, in "Accident Waiting to Happen," is "Impressed with a girl/ Who could sing for her supper and get breakfast as well" However, he does an admirable job of representing the difficulties of a sexual relationship "Trust" Billy Bragg continues to write provoking songs, and continues lo try to clarify the relationships between the personal and the political as he sees them. Don't Try This Al Home is Bragg's best work since Talking with the Taxman and if he continues to take himself seriously he could produce even better music in the future. Glenn Clark VARIOUS ARTISTS Death...Is Just the Beginning (Cargo) "Endless tract housing, nameless avenues and streets gridded out with incessent and never-ending regularity, formless, post-modern strip malls, vast expanses of asphalt parking lots and triple lane thoroughfares, video arcades, car dealerships, doughnut joints, steak houses, and lube shops...welcome to the suburbs. In the millions of square kilometres of North American development which falls between urban density and rural or natural tranquility, a new generation is being spawned. Fed on the yuppie materialism of their parents and the banal, mainstream nothingness of their environment, and in a constant tv and advertising induced beta-wave, "flat-brained" state, certain youthful elements of this consumer society are going through a metamorphis of truly Star Trek rerun proportions. In their mom's basement and the hallowed halls ofthe underground shopping malls, the new Prophets ofthe Apocalypse are emerg - ing; Guardians of the True Faith, Paladins ofthe Unseen Reality, they have a message for you, and il ain't Verily, the world may not be blown to bits by nuclear devices, but the Prophets know the great End Timesare rapidly approaching. Carnage, blood, destruction and obliteration await us all through the Maws of the Grottoes of Technological Nightmares. Our only hope lies in the crypts of the matrices of the New Cyberspace, where we can live out the gothic nightmares to begin anew as the ChildrenoftheNew Jerusalem, far away from the experiential Sodom and Gemmorahs of... the Suburbs!" Does any of this make sense? Well, it doesn't to me either. I just made it up because it sounded kind of cool. The point is that the suburbs truly have spawned a new category of musical phenomenon-the "Death- Metal" bands. Sounding like a hybrid between Finnish hardcore and Tom Waits with a bad chest cold, this music, also affectionately called "Grunge" or"Death-Core,"represents the ultimate debasement of rock and roll mixed with the altruisms of fundamental, suburban Christendom-or similar doctrinal philosophies. Drawing from metal roots going back to the sixties, these bands add this new twist- MUSIC 13 THE BEST IN LIVE RHYTHM & BLUES EACH NIGHT 13D0 GRANVILLE (AT DRAKE) Nov. 1-2 THE DEMONS with special guest LIZ MANDVILLE Nov. 4. 11. 18 OLIVER AND THE ELEMENTS Nov. 5-9 from Portland LLOYD JONES STRUGGLE Nov. 11 Special Remembrance Day Jam from 3 to 8 pm Nov. 12-16 INCOGNITO Nov. 19-23 GARY B.B. COLEMAN from Chicago Nov. 25-27 GAIL BOWEN Nov. 28-30 JIM BYRNES KmiBSjmumjm SATURDAY 3-8 PM / SUNDAY BLUES MARATHON JAM 3PM - MIDNIGHT JACK LAVIrfS JAMS ARE SPONSORED BY MOTHER'S MUSIC AND THE DRUM SHOP OPEN EACH NIGHT FROM 9:30 PMTO 1:30 AM OPEN WEEKDAYS FROM 1130 AM VANCOUVER'S LITTLE AMSTERDAM Open Friday and Saturday until 2am' Weekdays until midnight THURSDAY A 199er NIGHT UO" THE BULLDOG CAFE 510 Nelson at Richards 688-4438 many of them are indeed "fundamentalist Christian"; witness (nopun intended) Incubus with their ditty. "Slaughter of the Unborn" (the song no politically correct person would ever have in their repertoire). Some espouse prophesies of doom and destruction (Benediction with "Grizzled Finale." or Abomination with "Impending Doom"), gothic horror fantasies (Death Strike with the sublime "Mangled Dehumanizaticn Outro." or Pungent Stentch with "Suspended Animation"), Nancy- sez-no morality (Righteous Pigs with "Overdose"), or just plain silliness (Disharmonlc Orchestra with "Disappeared with Hermaphrodite Another element should also be noted. Like other bands in this genre (i.e. Nalpalm Death, Morgoth, Unleashed, Cannibal Corpse, and so on), the fans as well as musicians are exclusively young males. This may have to do with the male component of contemporary west- em society trying to find its identity in a now socially and economically confusing world. "Grunge" music reaffirms the fact that although technically human society has evolved at a blinding rate, physically we arc identical (perhaps slightly taller and less hairy) to our ancestors who sat around grunting in caves wondering how to domesticate cats (let me digress fora moment and ask you, who domesticated who?). Like the primal joys of territorial power-belching, enjoying a deafening, heart palpitating, wall of rhythm and noise accompanied by vocals which sound VAGRANT RECORDS PRESENTS J?% OF THE NI$Sft&_ like Cookie Monster on acid, is something exclusive to the male realm of experience. In fact, females to whom I have tried to explain this music to. or even the finer aspects of power- belching, only respond with same sort of derision. Too bad, for they will never feel how this aggressive, stirring music awakens the great, primeval male desire to run semi- clad through a forest, howling under a full moon and beating things up with a big stick. This vinyl compilation is a good starter lot for those of you who want to dabble in the Children of the Apocalypse's sound but don't want to spend $20 on any one group's CD. Oh, and parents, don't worry about this primal thing. After a good night' s howling, beating things up with a big stick, power-belching, and domesticating a cat or two, your son will be refreshed and emotionally re-adjusted to return to class and study Advanced Fluid Dynamics, Current Regression Theories in Ecc- nomic Modelling, and Canadian Parliamentary History in the Twentieth Century. AAAAARRGH! (=primal J. Boldt HOLGER CZUKAY Radio Wave Surfer (Virgin) Holger Czukay is the only tolerable aging progressive rock sur in existence.. Jus quirky music and his Einstein hair give this venerable musical lunatic that extra something that, in a perfect world, would bestow fame and fortune unto him. Radio Wave Surfer is Czukay's latest venture comprising Uve material recorded between 1984 and 1987. The music was recorded straight, wilh only minimal editing and no mixing. As such, this CD offers a fairly true picture of the Czukay live in action. Holger Czukay's back-up musicians offer excellent support and the lead vocal sounds amazingly like Gil-Scott Heron. (Unfortunately the musicians and vocalist are not credited so we might never know who they are.) Radio Wave Surfer offers the two sides of Czukay. The first half of the CD serves up some funk tinged prog rock gems that owe much to Can, Czukay's previous group. The remaining songs are closer to the more recent Czukay with its clever use of tapes, sounds and trademark french hom interjections. All tracks have enough depth that encourages discovery with each repeated listening. Great Czukay ...sure to please. Peter Sickert YELLO Baby (Vertigo) Just in time for Switzerland's 700_i anniversary of confederation Yello, that cool musical carbuncle on a conservative dear friend's face, has released its new musical lour de force. Baby, excluding the alp-horns in the opening fanfare "Homage to the Mountains," owes very little to Swiss cheese, precision time pieces, chocolate and other such cultural cliches, but does owe a lot to heavy doses of B-movie Americana. The decadently cosmopolitan Dieter Meier and his slick companion, Boris Blank, are the offspring of yean of American cultural dumping. Yello has drunk in the wealth of B-movie American and European artists (Wim Wenders comes to mind) and throws it back at them with distinctly European flavourings. Baby cttm the fall catalog of B- movie imagery...the neverending night of Manhattan, tough men in seedy bars, the inevitable femme fatale, sunbaked openness and ice cold martinis...Meier, that irrepressible strutting. "Lothario," is amazing. "Rubber Band Man" is sure to terrorize the dancefloors of the New York Schickeria. "Ocean Club" is the best tip of thehat to the hard-boiled American detective since Zom's "Spill- ane." A perfectly azure and golden scene is painted in "Capri Calling," a musical trip to paradise no travel agent could ever book. Meier, as the slippery confidence man, sleazily sells his wares in "Blender." "Sweet Thunder" is as expansive as the widest, most big skyed space you're likely to ever experience. As for the rest of the tunes.._>eaven. Yello is visual... Yello is B-movie... Yello is mood making...As good as Stella and You Gotta Say Yes lo Another _jcc-j-...Indulge. Peter Sickert BONE CLUB Bless This (Rocket Sound Record) I'm sure Bone Club are sick to death of being pegged as a next-generation Soul Asylum or some such nonsense, simply because they're from Minneapolis. Emerging from the Loud American Mid-west Guitar Band incubator is the songwriting team of Andrew and Dacey Arashiba, who have enough original ideas between them to push Bone Club out of the nest and fly their own course. You might know that Andre w spent some time singing for Skin Yard, and yes, he's that good: husky and melodic, but when he belts it, hoo boy, that sends chills up my spine. Strong songwriting, singing, and excellent, solid guitar playing make Bless This an exceptional debut. Rory Talt Ned's Atomic Dustbin God Fodder (Sony) If forced at gunpoint to compare Ned's Atomic Dustbin to another group I would say they sound like old Dinosaur Jr., only poppier and less depressing. While both groups seem to like writing songs about confusion. Dinosaur Jr. seems to have chosen aliens, little fury things and wagons to be confused about while Ned's Atomic Dustbin has chosen the more traditional teenage problems such as girls, parents and destroying televisions. I could see how a much older person might not be able to remember this confusion, and hence might become confused and not like it, or become confused and then suddenly identify immediately with the songs. BUT SERIOUSLY: Tliis isn't Zit Remedy from Degrassi and the songs aren't all about Teenage Pregnancy and Drugs. The songs won't fix your problems but they will make you happy if you're depressed. And if you're already happy then they'll probably just make you confused. "What does the group sound like," you make ask confusedly? Well, the lead singer, John, has a strong passionate voice and is probably the greatest asset the band has got. The two bassists' playing, although audible, is not funky in any way it just lays a strong foundation for the guitarist to play over. Ned's Atomic Dustbin is one of the more REAL ROCK'N'ROLL groups out of England and is said lo be the new Pop Will Eat Itself. No matter what, they're a pretty damn good band and should, in time, become a slightly better older band. LAST WORDS: They're better than EMF. Anton Suurkask HOLE Pretty On The Inside (Caroline) After two 7 inchers on farm team labels(Sympathy For The Record Industry and SUB POP-Thelattercon- taining the bludgeoning iracks Dicknail w/Bumblack (lhat still give me goosebumps with every rotation on my turntable), Hollywood's Hole make the jump to the big leagues with the 10 searing cuts on Caroline's Pretty On The Inside. I keep thinking that this should be called Pretty On The Outside because of the angelic faces on the cover but once "Teenage Whore" erupts from the speakers I can understand the land of pretty/ugly dichotomy that Hole possesses. Like "Teenage Whore," Hole want to give you the impression that everything in life isn't so rosy. la- stead there is pain, anger, disgust, and violence, especially where Hole know it best-in Hollywood. This is created not only through their music but through the Drew Barrymore of grunge-spoo-rock lyrics of lead vocalist Courtney Love. Witness this excerpt from "Garbage Man":"She tears the hole up even wider/Let's all the darkness up inside her/Holy old yeah your mine/Your everything is mine/Hey where the fuck were you when my lights went out." Or from the equally gut-wrenching"Mrs. Jones": "Sister ectoplasma she's incredulous/lust like a pro she takes off her dress/She tricks you down in her snow white pumps/Just remember it was me who found the lumps." Musically, the dichotomy appears via the guitar wrangling ofthe only male contingent to the group, Eric Erlandson, and the rock of Gibraltar 4-rtring of Jill Emery and Caroline Rue on the drums. Where Courtney's lyrics and vocal style make changes in volume and intensity so do the melodies by creating grating, surging hooks backed by structured, lush refrains. These characteristics are brought out on songs like "Ben-y," with its choppy innard- stretching riffs and deliberately slow and painful chorus and Pretty On The Inside'i aggressive, go-for-the- throat. approach that slips into the trippy 13th Floor Elevators style of the last track, "Clouds." A witness of Hole's live show, myself included, knows that each song in itself is an emotional release fueled by angst and frustration that only musicians like Hole could spew forth because they have lived it. It is bands like them (and Minneapolis' Babes In Toyland) that can turn a song like "Whole Lotta Love" into a whole lot of pent-up angst, anger and aggression. Words to the wise, I say. Bryce Dunn VARIOUS ARTISTS Absolute (Soleilmoon) Absolute is a compilation ofthe now deleted You Bet We've Got Somelhing Against You and Fight compilations. This is a fairly good CD that's pretty middleground-it is neither astoundingly amazing or blatantly bad: its just good-although it could've definitely included more info on the bands and release dates of the tunes. Some of the more interesting cuts are: Fini Tribe's "All Fours," which has both a melancholic quality and great percussion; Current 93's "Holy Holy Holy," a gospel song about about watching Christ die over- laycd with a sample of "Good Morning, Young Prince," complete with thumpin' church organs; and "Work- corps" by In the Nursery, which is hea vier and more ominous than more recent work and features a repetitive beat and militaristic Uve drums. The weakest track is by Pink Industry, which is way too wimpy, but is made up for by the peaceful ambience of Zoviet France and Hula. June Scudeler PRONG Prove Ms Wrong (Sony) This is the quality album I was expecting Metallica to come out with. While Hetfield and company have chosen the well trodden mass popularity ground. Prong remain true to the ethic of progress. This trio, while simmering in the bowlels of Noo Yahk City, have produced their fourth album of non-conformist metal, slathered with their trademark scummy, chunky guitars and lethal, voice of God drums. Former bassist Mike Kirkland has been replaced by Troy Grgocy (ex-Flotsam & Jetsam), rounding out the bottom. Prong's male rial is not theusual tripe that you encounter with most metal bands, a result of their past experience with grunge kings Swans (drummer Ted Parsons drummed on Children of God) and other New York noise influences. The songs on Prove Me Wrong mostly concern themselves with rebellion and disso- lutionment with anything and everything. There is a big dose of power in the songs, especiallly "Unconditional," "Tom Between," and "Contradictions." There is a nod to the past in their cover of The Strangler's "Grip" and a steamin' instrumental with the cheezy title of "Territorial Rites." There is not enough of the sonic blasts I loved on "Force Fed," but it is also obvious that Prong are taking the cliche that metal has become and turning it into a much more relevant music. Mofo GODFLESH Slave State (Relativity/Earache) This is incredible stuff-harsh, harsh, harsh, full of anger, the fury of metal on metal-an almost perfect hybrid of technology and guitar, with more emphasis on technology. This is definitely for for folks who think electronics means Depeche Modeness. "Slateman" and "Wound 91" are too metallish for my palate, but as they are at the end of the album, I can always skip 'em. My fave tracks are the title tracks (all three versions), "Someone, Somewhere, Scorned," and the 12 minute opus "Perfect Skin dub." They're supposedly touring with Ministry on the North American leg of their tour, the mind boggles at seeing these two bands together. June Scudler BULLET LAVOLTA Swandive (BMG) Bullet LaVolta: who are they and where do they fit into the general scheme of things? Well, they're five guys out of Boston; they wear suits (or so the picture in Swandive would have us believe) and they rock pretty hard. You get the sense that this is important to them that.if nothing else, they wanted an album that "kicked." And "kick" Swandive does, but not in any new or memorable way. slightly-above-average thrash and "My Protec-tor" sounds like Metallica (no melody to speak of, shrapnel-like rythm guitar). The drums hammer the point home and the lead guitar squeals up the scales, if given half a chance. Yukki Gipe, vocals, digs into his bag of tricks for metal shrieks and punk snarls. His angry vocals (you'd be angry too if your name was Yukki Gipe) infuse the whole thing with a punk energy that no amount of thrashing drums and lightning-quick guitar scales could. Unfortunately, Metallica-type rythm guitar rears iu ugly head all over the place, usually at odds with the pop hooks that sometimes find their way into a song. The hooks themselves sound out of place, as though Todd Rundgren had snuck into the studio while the boys were out. WeU okay, it's not that bad. and sometimes the songs really work, "Ceiling life," forinstance, and "Before I Fall." But too often the songs rock at the expense of the song itself. Too many dreary verses and lyrics about imminent self-destruction anchor the tunes when they could fly. These guys are desperate to rock, and who can blame them? There's enough limpwristed, panty- waist music out there to fuel an entire industry-Hell, it's happening- and something has to be done about it. Unfortunately, the LaVolta end up suffering post-Jane's Addiction syndrome: taking themselves too seriously, and thinking they can make the world safe for tedious guitar solos. One last note, the LaVolta are from Boston, so there is a Pixies connection... they are thanked in the credits, as are Buffalo Tom, Jawbox, Volcano Suns, Mudhoney, Soundgarden and the Rev. Farra- khan (just kidding). And hipsters will want to take note that Pixie/ Breeder Kim Deal contributes whis- pery backup vocals to Swandive. How does that one go again? Oh yeah, it's the one with backup vocals by Kim Deal... Shawn Conner WEIRD PAUL Lo Fldelty, HI Anxiety (Homestead) Hear Weird Paul play the accordion! Hear Weird Paul play the guitar and one of those little Sunday school organs with the pre-set chord buttons! Hear Weird Paul and his friend Manny sing "Are We So Bored" while trashing Paul's mom's basement! Hear Paul play with some of his punk rock friends! In fact, on his album, Lo Fidelity, Hi Anxiety, hear Weird Paul do ju st about everything! Who is Weird Paul? The next George Michael? The next Brian Adams? Hardly. In fact, I haven't a clue who he is. What first prompted me to listen to this album was, upon tuming the cover over and seeing a picture of Weird Paul, realizing with horror that he looks just likel did in high school-total dweebsville (with all due respect)! In fact he looks so much like I did that at first I was quite disturbed. Upon listening to the album, however, I decided that in fact a big difference exists be tween us. Weird Paul is musically Now, a lot of odd recordings slide across the ol* review desk here at Discorder/CUR. Some are inventive, some are contrived, and some are just plain strange. A lot of bands like to use silly or goofy titles to catch your attention (next to covers and profanity the best bet), but fail to deliver in the song. This is where Weird Paul triumphs. Whether a tender ballad about a fly drowning in his drink, or a psychological introspection piece about unconsciously acting like Mel Torme all the time. Weird Paul gives it his soulful best. But the range of his topics does not end there; he covers such diverse things as Coming of Age ("Tom ate a Banana," a tale of a friend who ale a banana wilh the slicker slill on and thus becomes a man), or a comment on Life Values ("Scott Baio was seen ai the Legfcnd- ary Pink Dot Convenience Store Buying 12cansofTunaandaCarton of Cigarettes," a tune concerning life after fame. Also indulged are issues of Esthetics ("Simulated Wood"), Violence ("Give Me Your Lunch Money"), Disgusting Things ("Pieces of Meat in the Tang"), and even a bit of hardcore, screaming surrealism, a nine second ditty about his dad's toe. What sets Weird Paul apart from other pretenders to weir- dom is he, and his friends who help him out, give it iheir heartfelt best. Most of these songs are memorable for that reason. Some you could almost whistle at work and drive ev- So, what does the future hold for Weird Paul? Sure, he may not have a voice like Brian Adams or the charm of Kevin Costner, but he wouldn't take no damn lip from Madonna either! In fact, he'd probably write a little diuy about her. And to truly make it sweeter, he'd play it on that Utile Sunday school organ. Weird Paul, you're a kindred spirit! J. Boldt MOFO'S PSYCHOTRONIC RECORD PIX O' THE MONTH This month I turn up a slab o' vinyl (yes, only vinyl can count) which is as cheezy as everyone would expect it to be. Before he became the Sultan o' Sappiness, Lionel Ritchie was in the Commodores, one ofthe many ersatz post Motown, pre-disco soul bands (which also included limp noodles like Earth. Wind and Fire, The Chi-lites and BT Express) that peppered the charts in the early '70s. Cheapness was de rigeur and, apparently, quantity replaced quality as squads of eight or more vocalists told us how they wanted to do something freaky to you or how much fun it was workin' in the car wash (as if!). The Commodores first LP had more of its quota of uselessness, BUT, iu one shining moment is "Brick House." A steaming pile of funk, laden with trademark '70s overproduction, this song is so creepily catchy you will be goin' "Shaka-down, Shaka-down-now" after the first listen. Lotsa comedy value too, since this song is totally concerned with the size of this girl's hooters!! Here's a few other gems from the dark age of soul: SFQiHERS-Rubberband Man, Games People Play WAR-L<w Rider (but you all know this already I) OHIO PLAYER-Fire, Love Rollercoaster NEXT MONTH: The "70s TV hunks do the vinyl thang. PROFESSIONAL 01/41117 DEMOS Fully equipped 8-track studio Live sound room and full MIDI sequencing Musicians and services available DEADjEATjTUJS qiant FESTIVAL RECORDS XSale Widest selection of Canadian Independent recordings, world music and mports from around the globe on CD, cassette, and yes, even some vinyl. New labels include Keltia from France, CMP from Germany, Sugar Hill— a great label of progressive country and bluegrass recordings, Greentrax from Scotland and Soar—a label of North American native music. 3lus an even better all-sales-vinyl discount section! Thursday, Friday & Saturday 10am to 9pm november 21*22*23 3271 Main Street - between 16th and 17th 879-2931 Jonestown Punch Bone Club Stab Cruel Elephant Friday October 4 The original line-up for that evening was supposed to read with the inclusion of Fat Tuesday and the Wheat Chiefs but rumour has it that Chi Pig phoned the Chiefs with threats of slashing his wrists,...er.um...I mean dreads, if they didn't let him join yet another band that is so much better than his last musical vehicle - that of which was a Pinto - The Wongs. So, the Chiefs and Chi were al a suicidal stand off until the wee hours of the moming with reconciUation coming in the form of an SN FU reunion tour. No shit?! Fat Tuesday? "Who the hell arc Fat Tuesday," I was quoted as saying all night Nobody really had any great insight into this question except for one Helen G.: gentile, regal host of Dog's Breakfast with a voice so angelic it makes all the Uttle boys at Cargo Records turn into Play - doh. Helen was sporting a newly shaved nape and to touch it was sensually erotic She informed me lhat Fat Tuesday is the day proceeding Ash Wednesday, which is in fact part of the most important week of the year to the Christian faith-concluding with EasterSundayCTheRes- urrection). So, Fat Tuesday aka. Shrove Tuesday derived its name because it was the day when the people refrained from eating meats.vegetables and food of sub^ stance all to use up their flours, fats etc. Ergo, pancakes! Now because Fat Tuesday can- ceUed we can theoretically assume that they would have sounded Uke pancakes? wrote songs about pancakes? ate pancakes? and formed a band with the original intent to call themselves Christmas Eve. However, realizing that this would have been an even stupider name stuck with this futile attempt at being wit- ty/punny and chose Fat Tuesday. Real men eat crepes boys! Now it's dark. The only good thing about Jonestown Punch happened to be their name. You would assume that with such a cool name this band would have a lot of original stuff to offer. Not so. Jim Jones is rolling in his MUSIC 16 grave knowing that these guys escaped the wrath of his killer Kool- Aid. Never before have I witnessed such a flagrant mis-use of talent. What leaves me even more aghast is the rumour that women line the stage for these guys, in Punch's hometown of Calgary, to ogle, grope and do what young hormone driven girls da Once again a fine display by the youth of today beseeching to photocopy icons. Next on the bill was Minneapolis ' next best thing since Husker DO, Bone Club. These guys proved jusl how easy it is to be original and laughed in the face of SUB POP and hardcore/funk all the while. Not an easy task when those sounds are making superstars, or reasonable facsimiles, of a lot of artisans who perfected their craft over the years. However, at this point Bone Club could blow many of the major label heavyweights out ofthe water. Take the hypno-groove sound of, say, Soundgarden, Pearl Jam or Temple of the Dog and mutate it as it goes on a long drive from the Northwest through the grainbelt to Minneapolis. Add a dash of angst from bitterly cold winters and you got Bone Oub. You got a distinctively original sound too. There's not a lot of ego with this band; no posing and they thankfully refrain from using their hair as whips. Just 4 guys playing their guts out for you and caring less whether you enjoy it ornot-although.deepdown, they probably wouldn't take offence toyou purchasing theirnew CD Bless This. The Cram (cruel elephant) was the home for Bone Club's first Canadian gig, on this tour, which will see them doing some time in Germany and back home by Christmas. Finally, a breath of fresh air in a room gone stagnant with homogenized sounds. After a short but screaming set Bone Club humbly left the stage with narry an inkling of how many new fans have joined the exclusive Bone Oub. But Uke staring at a total solar ecUpse aU good things must come lo an end and the stage was nefariously taken by Stab (formerly. Government Issue). Yet another post-punk skate band from Bronto years trying to rekindle their lost youth and find an audience that remembers them. Well, had anyone remembered them they would have been embarrassed to admit it. Just what the doctor ordered: clean, pristine. Pop Tart tunes played by the Knack of the 90's for young liberals everywhere. Okay, they weren't as bad as Jonestown Punch but somebody should tell these guys that Frank Zappa is running for the '92 primaries, 'nuff Scooter Front 242 Commodore Saturday October 5 People were really confused at this show; somebody should've broke the news that this wasn't a hardcore gig. The audience can't really be blamed for reacting in this way as 242 played Uke a hardcore band, albeit without the guitars. I have to admit, though, I kinda ted the Uttle mowha wks, but they did have sunglasses and, yes, they all son of do look the same; clones, perhaps? The evening was heavy on Tyranny For You and the songs were pretty similar to the record, but what kept it interesting was Richard 23 's percussive work. He was really amazing, being that enthusiastic afler being on the road for nine months is astounding. The crowd, a mix of 'alternative' and Z95 types, went predictably nuts for the encore of "Welcome to Paradise." 242 was certainly a lot more energetic than I expected. June Scudeler The Pogues PNE Gardens Saturday 5 October The Pogues had an awful lot to answer for heading into their show on October 6th at the P.N.E. Gardens. Without frontman Shane McGow- an, could they maintain the sound that made them famous? Was inviting the venerable Joe Strummer to replace McGowan akin to admitting the band was done as far as forging new musical ground goes? Could another vocalist do justice to McGowan's songs? Well, the answers that were revealed atthe show are all affirmative. The show on Saturday night proved one thing that should have been obvious to anyone that thought about it. The things that make the Pogues sound original, for the most part, do not depend on Shane McGowan. The incorporation of ethnic instrumentation is what really makes the Pogues unique, not McGowan's voice, cool as it may sound. Their sound is defined by the accordion of James Fearley, the tin whistle of Spider Stacy, the banjo of Jem Finer, and the mandolin of Terry Woods. And all these elements were in great form at the show, as was especially apparent on the instrument als the band did, Uke "Gridlock" and "Planxty Noel Hill," which were uniformly excellent. I was especially impressed with Fearley's work at the show. He's got to be the only ass-kicking accordion player around (or the Eddie Van Halen of the accordion, if you need a Guitar Magazine type of endorsement). Now, the show also proved another thing: that the Pogues are in serious trouble as far as new ideas go. McGowan has always been the group's dominant songwriter, and I don'tihinkit'i assuming to much to say that his presence made the band a Utile more unpredictable. And boy, if there is one thing the Garden's show wasn't, it was unpredictable. I was very, very disappointed by the set list which "contained all your favorites of yesterday and today." Yep. ihey opened with "If I Should Fall From Grace With God," and went on to play "Sick Bed of Cul- chullian," "Body of an American," "Sunnyside of the Street," "Yeah Yeah Yeah," "Turkish Song of the Damned," and a bunch of others you just knew they were gonna play. Now, that's OK, I've got nothing against hearing a band play a bunch of their best known songs at a concert. But the general predictability ofthe choice of originals was really amplified by the choice of cover versions. I mean, in Joe Strummer you've got a man with ten soUd albums of seminal material behind him, and what do we get as his input into the show's play Ust-"Brand New Cadillac," "London Calling," and "I Fought the Law." Great songs, sure, but pretty goddamn obvious choices, loo. Why not some stuff Uke "Trash City," or "Clampdown," or anything that isn't bound to be used in a beer ad in the next five years? And they also did "Honkey Tonk Women." It sounded OK on that EP. I guess, but I sure would have liked to hear the band do some stuff they hadn't done before, especiaUy with regards to covers. There was a Steve Earle cover called "Johnny Come Lately" that was new to my ears, but it didn't really make up for the fact that I had to Usten to four songs ("I Fought the Law," "Brand New Ca- dillac," "London Calling," and "Honkey Tonk Women") that, quite frank- ly, I was sick of in the tenth grade. Still, the show was a good one. It is always aesthetically pleasing to see a great big band (the Pogues had eight members) up on the stage. The band was fairly active on stage, and kept the sober, all ages crowd fairly active as weU. Joe Strummer did a nice job on most of hi s parts: he still has alot of stage presence (although I suspect ol* Joe is having a contest with Mick Jones to see who looks dumber in a baseball cap) and the rest of the band did a nice job of picking up for McGowan's absence. "Body of an American" and "Turkish Song of the Damned" were the only two songs where McGowan's presence was reaUy missed. It sounded weird to have somebody else sing "Sick Bed of Cullchullain" and "Dirty Old Town," what with instrumentation that was identical to the album versions, but Strummer didn't try to imitate McGowan, and those two songs were highlights ofthe evening. Strummer seemed a Uttle more comfortable with the more recent Pogues songs, especially those from Hell's Ditch, but after aU, he produced Hell's Ditch, and ought to be more intimate with it's materiai The between Strummer and the band came on "Rain Street" and "Fiesta," but that was of no matter, really. Philip Cheveron did a very nice vocal on "Thousands are Sailing," and Terry Woods' vocals were credible on the songs he replaced Shane for, most notably on "Medley ."The over- all impression was that, for this tour, the Pogues are quite capable of doing without Shane McGowan. The long term synopsis for the band, I fear, is not so healthy. Apparently, the date of the concert coincided with the 9th anniversary ofthe bands first gig. (Strummer even got the audience to sing "Happy Birthday.") And nine years is maybe too long to expect a band to keep evolving, especially when that band relics so heavily on a boozehound like Shane McGowan for written material. The only new stuff that showed up in the show was the afore mentioned Sieve Earle tune, and an instrumental. Not a good sign. But, the fact remains that the Pogues, with or without Shane McGowan, are a really good band that can, and did, put on a strong show based solely on the pasl. If their best stuff is behind them, so be it. Judging from the reaction the near sell-out crowd gave to the Clash (and Bobby Fuller) and Stones covers, that's just fine with the paying customers. Chris Uren Allen and the Psychos TRUK GoGuy Twilight Zone Monday October 7 The gig got off to a slow start we found out because Moisty's (a meme- ber of GoGuy) grandma had to embroider GoGuy on his baseball cap. It was a good thing for me though because I got off work at nine. GoGuy showed a lot of potential to really go somewhere in some songs such as the funky "Disco Rules," energetic "Too Few Dimes" and an a we inspiring one called "The Room." Yet, some of the songs had less energy and sounded Uke the Norothem Pikes. One member of the group said later that it was hard for them to pull together because he was literally getting electric shocks on stage. They pulled it off, just barely, but their different sound and talent do have potential. TRUK was alright-quite hardcore at times. The skinhead singer's mic was drowned out be the loud guitars most ofthe time. Many songs sounded tight, but a few had a long way to go. They got a positive response from the crowd with an en- AUen and the Psychos-well what can one say, lots of raging, thrashing energy brought about by the lead singer who was wearing a dress of someone's grandma (this gig had a lot to do with grandmas) and ripped shorts repaired with a lot of duct tape. A mosh finally started and fun was had by all who attended. And remember support your local hardcore scene. Coral Short Down By Law Kingpin Mushroom Trail Facepuller Club Soda Tuesday October 8 Having never been to Club Soda before I found it quite odd that a band Uke Down By Law would choose, whether or not by their own free wiU, to play in a club which sports air-brushed caricatures of Poison and Skid Row and a VJ/ announcer who sounded like he graduated from the Dick Clark/Casey Kasem School of Broadcasting. Nonetheless, I overcame these idio- syncracies and waited patiently, watching MetalUca on the big screen, JOE STRUMMER until Facepuller decided it was time to kick out the jams. And kick out they did. Facepuller raged Uke Mdlorhead on amphetamines with distorted vocals and choppy guitar riffs lo boot The bassist had one of those air traffic controller mics which was to his advantage as having the standard microphone stand would have only crumbled under the strain and intensity his vocals emitted. Rumour has it that their recent T slab has garnered the attention of international labels and perhaps soon those Facepullers will be pulling smiles on the faces of fans abroad. How can I describe Mushroom Trail in 25 words or less? Wimpy bar-rock to the Nth degree. YAWN. Kingpin from T.O. were up next and I became witness to another case of good talent gone bad. These guys SCREAMED every chance they got. C'mon guys, there's got to be more to life than Cruz Records. Hone your skills, come back in a year and show me what you got. Oh, but keep the cover of Ihe Kings'70's classic"Switchin'ToGUde,"it rules. Well, if you have just emerged from under a rock or from the womb you should know lhat Down By Law is 1/2 Chemical People, 1/4 Clawhammer and 1/4 Dag Nasty. Tonite they came to lay down the law with their furious brand of melodic hardcore and the small but enthusiastic crowd on hand were not disappointed. Showcasing most of the songs of their self-titled debut on Epitaph Records(produced by Brett Gure- witz of Bad Religion fame), Dave Smalley, ex-AU member, and company pounded out tunes Uke "Right Or Wrong," "Vision"(also on The Big 0«-Compilation)and"TheOne" with passion that only Down By Law could conceive. The versatility and prowess with which these blokes play is amazing; the rhythm section of Dave Nazworthy (drums) and Ed Urlik (bass) speaks for itself alone- check out Dave's vocal contribution on "The Truth" and Ed's instrumental genius on "Surf Punk" off the LP. Oh, and lest we forget the double axe attack of Chris Bagarozzi and Mr.Smalley. Together ihis pair make a formidable team trading leads wherever possible, leaving room for Smalley's powerhouse vocals spumed by only wanting to please us, the Ustener, wilh an attitude both promising and positive. WeU, this show, as positive as it was, was marred by the negativity by certain patrons and staff of the club, but that's another story altogether. I wiU go no further but to say that if you missed Down By Law you missed a heUuva great band and if you care about supporting bands Uke them don't go to clubs that don't support the scene. Bryce Dunn The Sons of Freedom Town Pump Friday October 11 I bought their first tape because a friend suggested it to me. I loved it and I couldn't wait to see them Uve. Friday night was the first chance I had, so me and a bunch of friends got to the Town Pump real early to get good seats. We spent the two hours, before the bands started eating,drinking and arguing over whether the animal on their T-shirt was a dog or a racoon. I still believe it is a racoon. Mary came on around ten o'clock and played an adrenalin- pumping set. They were loud and good and reaUy got the audience in the mood for the Sons. The Sons came on just after midnight and they were even louder. My ears arc still ringing. But a Uttle deafness was worth it to Usten to the group Uve. The ionic assault ran through all of my favourites from the first album and quite a few from the new one. Particular stand-outs were "Fuck the System." "Mona Lisa," and "Judy Come home." The crowd reaUy got into the music slamming themselves silly. The Sons of Freedom may not be very original when it comes to naming their albums but they can sure play some lack-ass rock. Here's hop in' they come back soon and don't wait so long for the next al- Steve Elvemark Ann Magnuson Love Battery COCA (Seattle) Saturday October 12 Was feeling kinda artsy, kinda deep, so some friends from The ViUage and I jumped in ouraubergine Citroen and headed South. Crispin and Guy were discussing Kirkegaard under the swinging metaphors for the alienation of the artist in an increasingly alienating club. Kinda New York. Swilled some one-doUar red wine, then hunkered down for some jaded social commentary prior to the show. So many berets.. .Kinda Seattle. Love Battery killed forty-five minutes before Ann came on. "Downtown" by Petula Clark killed another half hour (two minute song, half hour, you work it oul). How banal. Then Arm. From atop a ladder, she launched into a searingly acerbic indictment of just about everything from public apathy to Judge Thomas to network television politics (an insider's perspective). Not in a bad way, though. In a subtly witty, wry, been-around-the-block -but-not-too- bitter sort of way. BUTTHE CROWD DID NOT GET IT. Nope. Too much hip, not enough camp. You don'tcheerwhen Ann Magnuson waves at the sound man to start the tape. You don't wave back. You sit quiedy in anticipation of the greatness to follow. It went like this: costume change plus wig, persona, biting satire, minimal set adjustment, costume change... performance art videos, Bongwater video, Bongwater song with floppy hat (Everyone laughed when she gazed at her guitar and said, "It's really easy, you know."). Then swingingmetaphors, then home to make snide remarks about Americans. Chenyfyr King Missile The Off Ramp (Seattle) Thursday October 17 Remember the night of August first at that shopping mall known as 86 Street? That night of which four of New York's finest musicians/entertainers opened "ever-so-deserving- ly" for Vancouver's finest rock V roll ensemble known as She Stole My Beer? I do. What a waste. Little did that small but enthusiastic Vancouver crowd, who did show up early for vocalist/poet John S. HaU (who must have the roundest cheeks in modem rock 'n' roll and who definitely loves his fnril), sock- footed guitarist Dave Rick, lumber- jackian bassist/Farfisa organist Chris Xefos and the-new-drummer-who- isn't-David-Ramirez-but-I-don't- know-his-name-anyway know, but the pride of Kramer's fingertips and Dogbowl's former penmanship was making a rather extensive tour through the whole area. And not just to our city, including stops at such musical centres as Seattle and Portland, where THEY DID NOT OPEN FOR SUCH FAT FOLKY LAME- ASS SANDY-COVE-ISH BANDS AS SHE STOLE MY BEER!!!! As a mailer of fact, Seattle's response was apparently so incredible to King Missile's performance in support of their Atlantic release The Way to Salvation, (especially compared to Vancouver's apalheticnon-reactian) that John S. Hall promised to come back (to Seattle) real soon. Guess what? They kept their promise, and on a nigh-on-winter night, in the Emerald City at a club just a felt bowler's throw away from the 1-5, and with a signpost that used to have a Hanford Nuclear Pizza Pie sticker on it, but now doesn't 'cause the pole got bumped off by a runaway American compact, they made a whole bunch of people very .very happy. EspeciaUy the two guys right in front of me who were dancing in such a manner as to put my head and my groin at risk of being pummeUed alternately by shoulder and (bum) cheek as they ground their Uthe com- puteresque bodies in time to the songs (Of course, I could have moved out of their way, but I didn't, because I found it rather Seattle-like.). There was also the guy who reminded me of Andy-the-(Sports-)Nut-who- goes-to-each-and-every-Canucks- Lions-86ers-game, and sorta slam- danced around the floor screaming the lyrics lo King Missile's songs(John S. HaU's poems) at the top of his lungs; demanding at their every pause to hear "Double Fucked by Two Black Studs," to which the band finally obUged him acapeUa- Uke as the finale of their encore. And there were also the several other trendy folks bouncing about who ordered the band to play "Mr Johnson" and they did play it, as the last tune of their set. In short, the crowd wanted to hear pre-Salvation King Missile, Uke stuff from Mystical Shit and They, but instead were treated to almost aU their major-label stuff, which really wasn't so bad because King Missile were rockin'. As John S. said, "Rock and Reee-oh-lUll!" Plus, to top it all off, they had extra-super-special King Missile baseball caps with wonderful embroidery on them, which, for two Vancouverites, was aU that was left to say. "I wish." Wilma Nguyen Seaweed Rocket Windwalker Arcadian Hall Sunday October 20 The Arcadian HaU took a while to fill for this gig but eventually the turn-out got better. Windwalker started the night off with their high energy stylistic rock and roll. Having never seen them before the lead sing - er reminded me of Ian A stbury from the Cult. They did weU-you can tell why they won Shindig last year. I especially remember the insane strength of the song "Down a Rabbit Hole." RED RED RED. Rocket from the Crypt, from San Diego, had entire red outfits, red Ughts and red hardcore music. What made the music red you say? Well, ifyou were there you know the instrument lhat added to their total sound. If you weren't there, it was a saxophone: a satisfying divergence from the mainstream. For some reason they all reminded me of Elvis Presley. SEAWEED put on a good solid show with "Patchwork," "Stale" and "Carousel" being some of my favourites songs. Being a Sunday they told the crowd they should be at church. From the crowd's guarded enthusiasm for the headline band you would of thought so loo. For an all ages gig the audience was very mature, or perhaps sober, because it was Sunday and the next day was Coral Short Roots Roundup King Apparatus Cruel Elephant Tuesday October 22 Having never seen King Apparatus, though we share the same hometown, I went to the much hooplaed Elephant with high spirits. However, these spirits were dampened slightly by the sight and sound of Roots Roundup. My initial introduction to Roots Roundup was in Toronto last year when I went to see Bob's Yer Uncle (whom I had orig- inaUy seen with the Rheostatics. So it seems funny that aU four bands are/were playing this week) and Roots opened. At the lime Roots impressed me so much with their energy and originality thatl left after only a couple songs from Uncle because they were not nearly as good. Roots have changed their format if my foggy recoUection serves correctly-I seem to remember them being a four-man band (a trombone player/vocalist, bassist, guitarist, drummer). They now have seven members. Add both a sense of belonging or of family, that rubs off on the audience and a couple (or more) dimensions of sound...ii doesn'l fit the group. For me, most of their power and attraction came from their easy to find rhythms and their un- compUcated sound (trying to figure out all of their influences is complicated but their songs were easy to foUow) which made it easy to dance to. But somewhere Roots decided to emulate a ska band and add a few more musicians to the'family', play more aggressive songs, etc. I still think that they play great music but they are no longer as original as they had once seemed. King Apparatus was also something of a disappointment in that I was perhaps expecting something along the line of the Hopping Penguins (another, of the few, Toronto ska bands). While the Penguins play mostly covers and moved constantly between funky James "Ok, whose been usin' my bathroom" Brown, Bob "I shot the sheriff Marley and ska faves. King Apparatus play mostly originals with a few ska coven (and an extremely, damn, good version of "BUster in the Sun" by the Violent Femmes). Which means (in my humble opinion) that the King's are less a loud party and more a loud band. About halfway through the set the singer joked that he had seen better dancing and that "you should try to include the girls, too," a reference lo the moshing pit that had developed. The night bore out the fact lhal the "girls" were more than capable of skanking their own way onto the dance floor. King Apparatus is also a damn good band but they are smart enough to reaUze (I hope) that they are a ska band and wiU not fuck wilh lhat formal But to tell you the truth one of the best combinations I have seen in a long lime was this show: two incredible dance bands, a fantastic chance to toss off your cares and 'shake your booties.' Kevin Geluch Public Enemy Anthrax Primus YBT P.N.E. Forum Thursday October 24 Man, Anthrax suck. I guess I was under the assumption that they were "heavy.. .Uke Slayer" with a bit goofier attitude. However, a Better Assumption would have been PubUc Enemy do "Channel Zero" with Slayer, which they do in the studio for PE's second LP, Nation O' Millions. Then of course, to further bridge those musical gaps, we have Sonic Youth and John Cougar Mel- lencamp open. Such was not the case. And in lame-ass Canuck tradition, one of the PE posse couldn't get over the border. Last time I think it was Chuck D who couldn't get over the border due to weapons on his person. This lime, ex-Parliament member. Flavor Flav couldn't get across. I don't know why, but it may have somelhing to do with assault charges. ActuaUy, the PNE forum isn't a bad place for a show. Originally I was thinking Coliseum, but I'm glad it wasn'theld there. I'm also glad the hockey game ended at a DIFFERENT time than the concert, for obvious Langley-rooted reasons. Brothers gotta work it out. Big show security was in effect and sucking hard: face-painted, female stage-hopper gets back-Up, swollen lip and tripped to wet paddy wagon, where she stays for the duration of Anthrax, in serious juxtaposition with the two siUconed Marble Arch-hags Anthrax invited on stage. No, we're not the same 'cause we don't know the game.' Lose those two geeks in Anthrax thatmakethem an Italian version of Whitesnake. OK, "the Anthrax Rap" is a cool song, they call on an extra guy for lhat with the same Krishna cut as the guy in the band everyone remembers. And I guess I Uke the "Got the Time" track too, but only because it reminds me of "Ballroom BUtz," (and a bit like "Walk Like An Egyptian" too). During Anthrax's extended "Cry for the Indian" rock- baUad the lead singer jumped around in a candy-com coloured headdress. At this point in the show it would've been ideal if Chuck D had come out as the cowboy and they broke into "Macho Man" but once again such was not the case. When it was duet time, the prelude was a big condiment spray- gun fight. Anthrax, and what looked like a couple of Nile Moves contest winners, were spraying each other, and the audience, while Chuck D threw drumsticks of KFC out into the audience. He was sporting a blue sUcker similar to the ones you buy in the fairgrounds for $1.25. The strings section of Anthrax milled around their big clock in the corner and the noise was brought. I don'l know of any fights, other than the security bashings, that broke out. An ambulance did have to come backstage to get someone who was originally in a wheelchair and six or eight girls let me go ahead of them in the bathroom. PE did a whoppin' 35 minutes of classics. Chuck D did a Libcrace impersonation as a salute to hi s missing bro Flav. The SI -W dance tribute and the ghostly "ycahh boyyyh- hh," sampled throughout ihe show, would've been enough perhaps if those Anthrax yobs were wearing theirbigskuU-mock concrete clocks around their necks when they came teetering oulon stage in white sheets. No, nol with large pointy hats. YO YO YO YO YO YO I'm walking around the Forum and I see this Uttle wiener yeU- ing, "Yo Yo" to the beat of the fanfare music. She looks like your typical high-school bathroom girl YO YO YO YO YO YO There's no band on right now & the fanfare ranges from the Cure to Iron Maiden. YO YO YO She's doin' laps around the Forum, accosting security guards, steppin' on toes and looking at no one. Her Utile friend who was trying to stop her told me she dropped acid for the first time. Acid 171 For what. Primus? I didn't even get to see Primus 'cause of that twat at the pass door. But I made it in time to yell "Primus Sucks" as they left the stage, and who the heU cares about the Young Black Teenagers. TOP FIVE QUESTIONS I'D ASK PUBLIC ENEMY (if I had any guts): 1.) How did you come to discover old David Bowie songs for "Night of the Uving Baseheads"? 2.) D'you know what inspired Sinead O'Connor to shave the PE logo into the side of her head for the Grammys in '88? 3.) Have you thought about doing "Brothers Gonna Work It Out" with Alexi Sayle to compensate for the anti-Semitic charges you were faced with during the release of Welcome to Ihe Terrordomel 4.) What sneakers would you endorse if paid? 5.) What is the instrument you use that sounds Uke a cat in pain under "Don't BeUeve the Hype"? Redd McJann m < FUTURE BY TARA SLOAN Welcome lo the Future Rap zone! Yes, some absolutely dope music has entered my ears... Public Enemy #11 That's right! From DefJam comes the latest release. Apocalypse '91...The Enemy Strikes Back. There are 14 slammin' iracks cm this CD. Some of the issues mentioned are: alcoholism, aboUtion of the words "Yo Nigga," and Flavor Flav dis sin' the New York Post for interfering in his personal affairs. Which they, the Post, inci- dentaUy printed wilh incorrect information! Yes, this CD contains cxphcil lyrics and strikes black with great force. "Can't Truss It" is a song about the many slaves aboard the ships and tells of the rough conditions the slaves had lo endure: Chuck D's lyrics are indeed powerful. He definitely gets certain statements across lhat hit sooo hard you almost feel a hand reach out and slap yah! Nevertheless, this is a "must-have," ifyou are a P.E. fan. Terminator X continues to rip shit up, Flavor moves into more serious rhymes. Chuck D hits harder than hard, and Sister Soul- jah (the newest member of PubUc Enemy) gets her two words in loo. I am disappointed though that this lady (Sister Souljah) does not appear on thecoverof the release,seeing as she isamemberofthegroupl "Bringthe Noise" (featuring Anthrax) appears at the end and explodes into a mad frenzy! Some stompin' tunes are, "Nighttrain,""l MilUon Bottlebags," "How to Kill a Radio Consultant," and "A Letter to the New York PosL" Somebody's definitely done their research and arekickin' the real knowledge lhal needs lo be taught! Queen Latifah has come out with her newest Nature Of A Sista', a Tommy Boy release. Latifah continues to use her smooth-flowin, elevated inteUect Her crisp voice de- Uvers many different styles. There's some singin' and swingin', and reggae bringin' her music to that other level. Latifah speaks with authority and much confidence. She says she hates the commercial stuff but isn't she...Oh well... Unity is discussed in an upbeat tune called "Love Again." There's singin' in this hit too. It seems as though Queen Latifah has come to a sort of peace within herself. The CD seems to reflect an open love for the souls ofthe people, MUSIC 18 and a concern for the lack of love many have towards each other. Naughty By Nature and members from Main Source help produce this 12 track CD. Latifah takes part in doing production, as weU as mixing several tracks. House music, along with plenty of homs, smooth reggae rhymes, soul singin', and flavor- filled tracks make up this CD. "Peace, Unity, Love and Ha vin' Fun" is what this Queen is aU about! A dose of positivity on the scene? Yeah, you got ill H.E.A.L. (Human Education Against Lies), a group of famous rap artists, have released a CD called Civilizations vs. Technology. "Heal Yourself' includes such artists as: Harmony, Kid Capri, Big Daddy Kane, Freddy Foxxx, L.L. Cool J., MC LYTE. Queen Latifah, KRS-ONE, Ms. Melodic, Run-DMC. and Jam Master Jay. This compilation contains a mixture of rap and reggae by both male and female. A song that caught my attention was by Ms. Melodie called "Anti-Ho" where, at the end, KRS-ONE talks of how when too Short comes on the set all the girlees run to the stage and scream "We love you too Short," at the same time he is cussing at them and calling the ladies bitches and ho's. Heather B has a release on this 13 track CD. It's tided "Don't Hold Us Back." This tune expresses Heather B'S concern over the issue of woman being repressed by men in today's society. Surprisingly, Billy Bragg appears on this CD as weU. The beats are pretty kickin' but it is the messages that reaUy throw down and make you think. Another cool hit is "Family Got To Get Busy," that features Salt'n'Pepa and many other rappers...Heal yourself. Naughty By Nature's self- titled 12 track release has just busted out recently! "Yoke The Joker" is the first song, which is rough'n'tough, expUcit, and even a bit crude, in flavour. This sing is truly not like the next track, "Wickedest Man AUve," where Latifah rhymes some flowin' reggae style. The dance floorhit"O.P.P."appears on this Tommy Boy CD. One track I found extremely, hard-hittin' is "Ghetto Bastard." I think the title is self-explanatory. Quite touching actuaUy ! The production is done by the members of Naughty By Nature, with Queen Latifah mentioned as one of the three executive producers. "Guard Your Grill" is pretty dope. Naughty By Nature's style varies from reggae chorus, to past- flowin' lyrical lashings, to loungin' level-headed words to tough, rude'n'crude bitchin' ballistics. These Boyz have quite the "Naughty" mouth as portrayed in a funk in' hit caUed "Strike A Nerve." Naughty By Nature has got the Flavour! I! Word. Rem ember those two girls who backed up M.C. Hammer? WeU in case you don't, they're called Oak- town's 357. Their first cassette didn't seem to make it very far. (It was kinda...wackl) But now Oak- town's 357 has gotten a face lift, sort of. I'm sitting here Ustenin' to the tracks and not enjoying it one bit...The productions is aU jazzed up and R+B bullshit is inserted in certain spots. "It's Really Goin' On" isn't loo bad 'cause it's not some mushy love ballad that doesn't hit- it's definitely a houseparty hit. Auurghl The invasion of M.C. Hammerhead! 11 No, he doesn't appear courtesy of nobody, but his rap- style and beats, and backup racket, is an influence that's nol positive. "Respect" is an almost dope track. Knowledge is being dropped and respect is due to these 2 for trying to improve the conditions amongst the people of today's society. "We must respect each other in the world we Uve today," is the message being tonight- Go! Go! Gol "Load the 3.5.7." has a hittin' bass drum and the lyrics are spoken sharply. But the backup hysteria ruins the tune. Track 13, "Use Whal We Got" has singin' in it- I jusl don'l Uke these girls. They have improved but don' t seem to have their own style or their own lyrical input. Now here's what I Uke to see: "Written, produced, and arranged," by A Tribe Called Quest. The meUow rhylhms begin right from the first tune. High hats, basic bass lines and original native notes arc voiced. "Butter" is a song to think about. Phife complains about black girls trying to look fly by putlin' in blue contacts, geltin' ex tensions, and dying their hai r. The Tribe next talk s of "Show Business" and what it takes to make it. Lessons are get tin' spread around. (Obviously from personal experience.) It's about gettin' scammed, Uve shows, record deals, and concern for the low-talent artists gettin signed. "Do You Wanna Be In the Business?" is the question they are askin'. Next the Tribe describes "The Infamous Date Rape." The 12" appears here..."Check The Rhyme."It's alright. Basically Tribe CaUed Quest is using the same style of rhyme they are known for. But personaUy I think the last CD, People's Instinctive Travels and the Paths of Rhythm was a better album with more variety. Phife does, in this 1991 CD, happen to say in his paragraph on the inside of the cover, "to Vanilla Ice, F_ck You." Hmmm..., is this the start to static? I doubt it! From the Black Watch comes Queen Mother Rage with Van- glorious Law. Smooth, intelligent lyrics are spread; funky vibes are shaking; and "To Be Real" lets Queen Mother Rage deUverhcrmes- sagei quickly. These messages in clude her saying "A black man needs a black woman..." and for the black ladies not lo have blurry vision and try to make "Self pretty for the white man's attention." In the song "Path of the Mad," this Queen discusses the end of iu lines. Here's something to get the mind ticking, "Original Man was Black, in the continent called Africa, where the human race had emerged on the planet Earth."-(Taken from being in control of oneself and one's actions. There are ten tracks aU dealing with information directed to the black men and black women's ears. Professor X appears, in every track without exception, to school the listener some more. Roots, the past, the future, and the existence of all is shared. Queen Mother Rage speaks in a low, roll in'voice lhal trails off at the Autobiography of Malcom X as told to Alex Haley, 162) I took a quick Usten to B.G. The Prince of Rap, The Power of Rhythm, but disappointedly discovered that the majority of the 13 songs are housey-fiUed with sappy love ballads Uke, "Wishing For Your Love,"which includes that lady that seems to sing chorus for everybody's hits. There's a lot of samples, that lady hooh-hooing and yah-ing all over the damn place. The lyrical content is nil. Dance! Dance! Dance! If you Uke dance then maybe B.G. is up to your taste but I don't hear much happenin' from this boyee. What else is new? Well Smooth B and Greg Nice (Nice & Smooth), have come out with a 12 tune CD called, Ain't a damn Thing Changed. Singin' again? Not only is it harmonizing, but it's really painfuUy off-key. "Cake & Eat It Too" is indeed hard to Usten ta Why sing if you can't? Better still why sing? This is s 'posed to be rap isn't it? What column am I writing here? R&B Hammer Jammin' BuU****,or dope, slammin',pimp- strut rhythm hittin' shitl Huh? No, No, No, this is all wrong, let me move along. Check. Hey "Hip, hop Junkies," is a dance hit that's currently playin' in the Dance Halls. Fuck This! Piles'n'PilesVPiles of new 12"'s. So many in fact that I know I can't possibly mention aU. Here's some new names to look out for Lady Fresh. Black Sheep. MC Peaches, Tim Dog, Javier & the Str8Jackers, Don Q, BFM, 44 Max, success'n'effect, MC Breed & D.F.C.,Sweetenlo, Capitol Punishment. Dosta Crew. U Know Who, First Star, Lance Romance, Zab- rina. The Don, and a new 12" from Hen-Gee & Evil E. Increase the Peace! As for the #1 rapper this month. Let's take it as a group effort and say Public Enemy! Peace and I'm out! ''&&/. BY FELICITY DUNBAR The Melvins: Mikey Oh-blaah-dee, oh-blah-dah! Life goes on... sigh. Sure do wish it was Decembernow. Oooooh, I can't wait 'cause I've been a-hinting to Uncle Alfred that that shiny purple vinyl 45 canying case I spotted in the window of ol' Blakley's Five & Dime the other day sure would suit my glamorous Discorder columnist image scads better than my frayed green corduroy bag with orange fringe. But it's only November, and I must be patient. In the meantime, let's peek into my old mossy tack and see what's there... What ho! It's a Moes Icon single (Vermin Scum). When I received this gem much to my dismay, the cover looked like it had gotten dunked in a puddle or something. Luckily tho' the record came out unscathed. I sat in my room and played the two songs, "Memorial" and "Moth," over and over. Good head bobbing ditties to play over and over... Ooh baby, hold me back. El Vez has a record out now "Esta Bien Mamaciia"/"En EL Banio" (Sim- p-ricoPordlndustrio). Oh, he's just soooo suave. Ooooooh he's "The Mexican Elvis." Somewhere I know a black velvet painting of his lovely visage is gracing someone's wall. Oh El Vez, you just make my heart go all boompily. I swoon. I swoon... And what about those Icky Boyfriend* (CAP Records)? The Jiggle boys named this band as "possibly the new Sockeye." And with twisted songs like "Sex Trash," "Muffin" and "Frank's Mom," yup, I guess so. I figure tho' if your boyfriend is icky, damnl get rid of Mm, but keep this record 'cause the Jiggle boys don't he. Andbesides, thehand- drawn portrait of the Ickies on the back of the sleeve really looks Uke Mikey Jiggle's rendition of the Melvins in a past issue of Discorder. Oh yeah, and if you send me a hand- drawn picture of yourmost favourite swingin' singles band, heck you might win a prize and/or get your artwork printed right here!... Hey, don't eat that poor pup. He's real ugly but don't eat him! The band shown preparing to chow down on the back of their new single "13 Family" b/w "Dog Energy" (Blossom) is Gnome. Gnome is the band whose name shaU forever be suffixed by the phrase "formerly Earwig." I've been trying for days to pin down what exactly is wrong with this record. Something sure ain't right. The vocals on "Dog Energy" don't reaUy suit the music, and it sounds Uke it's on the wrong speed (and no, it's not my record player's fault!). "13 Family" doesn't fare too much better... Yeah, Iknow coloured Singer's voice is almost as sweU as Mr. T Experience Singer's voice- But hold on a sec! More bloopy swirly vinyL same as PopDefect's. Must have been a sale. Cool vinyl aside, the Tommyknockers' Noisy Beast 7" (Dionysus) is one of those records that doesn't reaUy knock you over and onto your bum wilh a first Usten. There are screams on the title song that just don't belong there; the B-side however caUed "MoretoCome"is far superior. Isn't it weird how lately so many B-sides are better than their respective A- sides? At least I think so... Looks Uke Black Angels' Death Song (Dionysus) didn't get in on that vinyl super sale: instead their record sports a Lemon Fluff/Banana Pineapple Taffy hue, and some weU- placed and weU played tambourine. And look here, another example of my B-side/A-side theory! B-side "What Do You Mean?" has a nice kind of dark, moody quality to it to match the deep purple sleeve... Apart from the really rather unflattering black and white photo of the Electric Ferrets on the sleeve, this is a pretty neat punchy rock 3-song EP (Dionysus). There's a tune called "My Son CaUs Another Man Daddy" that recounts a highly emotional tale you'd more often find being sung with a slow country/ westem-y twang...With few other lyrics other than the title "Wow," Hypnolovewheel's T (Alias) is fuU of charm and fun seesawing between rocking geetars and boppy plink-plunk guitars... Speaking of charm, finally another record by Courtney Love. Ever since that one with "Uncrushworthy" on it came out I've been eagerly searching for more. This one, called "High- Ughts," is Vol. XXII in the International Pop Underground Series (K). It gets the prize for bestest-cover- art-of-the-month: simple colour blocks of rosy red, eraser pink, and mango orange. Simple poppy music. By the way, this Courtney Love is Patrick Maley and Lois Maffeo (not Hole singer Courtney Love)... Speaking of Patrick Maley, the McTells 7" was engineered by this very same feUow and produced by Calvin (K). This record is supposedly a spUt single with The Supersonic Butcher Bitches 'cept on "advice from Russell Mummy, tuned all their drums and guitars so high lhat you can't hear shil!" So says the record insert. Nice guy Maz Mummy handed Ihis 7" to Nardwuar saying, "Here's some product from my label Four-Letter Words." Thank you very much!... Oh wait, here's another one-sided single that just plopped in my mailbox. It's " 10" by Zipgun (eMpTy) that threatens to put a fist in yer eye, ear, nose, and throat. You can't get il unless A.) you'reordering somelhing else from eMpTy or B.) you're under 21 and visit Fallout Records in Seattle (or if you're an old fart, ask someone nicely who is to go for you)... More from Seattle, The Gits have followed up their Precious Blood 7" with another entitled Spear & Magic Helmet (eMpTy). I've said it before and I'll say it again, Mia Zapata has an amazing voice. Amazing!... Oh before I go, your attention please! I gotta say that Portland, OR's Imp Records wins the most-bestest- package-I-received-this-month award with records by Crackerbash, Mudwimin, and Oswald Flve-O. To start off, ummmm, I'd give "Walk Back," an 86 because I can dance to ill It's one of the songs on Crackerbash's beautiful 7". WeU, maybe beautiful ain't quite the right word for it_ These here are some pretty heavy and scary, yet catchy, tunes that seem real loud even when played at a low volume. Lock yourself in the bathroom and play this record LOUD 'cause, as you know. the there exceUent...Didya also know that Mudwimin's 3-song EP was produced right here in Vancouver at Profile Studios and has spooky cover art and features one damn wicked rumbling song in "Wild Bill." Now you do... Didya also know that on Oswald Five-O's 7", their vocahst sounds like he's swinging by a rope holding on for dear Ufe as he sings about "A Love Supreme" and squirming around on the floor as he sings "Crashproof." All three records gave methecreeeeps... Plus, didya also know that Mr. Imp Records is the same guy who puts out Vicious Hippies from Panda HeU fanzine, which some day will be mentioned in Sassy if it hasn't already. Uh huh... 'kay, so it seems to have been the month of segues forFehcity. Each record review just flowed into the next didn't it huh? Well okay, not reaUy. but I tried. (C______Z3) mbhdays CiTR presents alternative night every Monday no cover before 10pm, free admission with this ad after spins the hot funk tunes ev- . ery Tuesday, Get down here dusts off the clas- jugs $9.99 CONCERT VANCOUVER - NOVEMBER 10 new VICTORIA - NOVEMBER U mmm* "HOLL! COl E TO 0 IS TO JAZZ LANG IS TO COUNTRY AND THE COWBOY JUNK- IES ARE TO ROCL IRREVERENT. INVE NTIIE, UNCOMP IOM ISING UNCOMMONLY ( : A N A OIAN." / fc__f HOLL 1 COLE 10 10 "BLUE II OH III 10010- 7941094 I cass I 4 disc m YOUR TOTAL ENTERTAINMENT C£NTRE O&Osound How To Get Rich Overnight: Some Sure-fire Ideas. By Chris Uren Tom Vu, as we aH know, is full of shiL He charges tons of dough to tell you how to make money, and I'll bet it still doesn't work. And Ed Beck- ly "s (remember Ed Beckly?) another pretender. After renting half an hour of TV airtime that by rights ought to be devoted to Hogan's Heroes or something good, Ed had this hard-hitting advice for getting rich. "Vou watch what the poor people do, and you don't do it." Thanks, Ed, I'll stop all that dumpster diving right away. No, these guys are duds. If you want to make real money, I'm your man. Here is a list of actual, tangible items that will make money. And I'm not asking for a red cent. Because more than just being ingenious items, popularly demanded (even if the population doesn 't know it yet), the following are items that the world desperately needs. 1. The Convertible Winnebago. What could say "I've got an enviable lifestyle" better than a con - vertible Winnebago. Imagine roaring down the Interstate with dandruff infested, rapidly disappearing hair a-Wowin' in the wind, while you sit twenty feet above all the other travelling suckers with a fridge, bunk bed and working sink. I envision options like hot-tubs, satellite dishes and fake gas fireplaces for the convertible Winnebago. Christ, if people are willing to believe that beer gets them hot chicks, just think what the idea of working on yourtan while sitting in a hot-tub and watching the Playboy channel as you motor from Cleveland to Pittsburg would do to the babes in these idiots' minds. Now, I know lhat some people are worried about the technical aspects of the Convertible Winnebago, but rest easy. If they can build a Skydome, they can build a convertible Winnebago. It's the same idea. You know, take an already weir- idea, like the original Winnebago or the domed baseball stadium, and give it a roof that retracts. And, really, proof of this baby's marketability is the popularity of the Skydome. Also, it could be sold with a catchy slogan like "for retirees lhat want to live a Uttle." 2.Black Velvet paintings of Jesus on the Cross. This one, quite frankly, is only logical. See, lots of people buy Black Velvet paintings of Elvis. And let's face it, to these people Elvis has gone far beyond being just a lard- assed rock star. To them, Elvis is a religious icon. So why not put a real, bonafide religious icon on a black velvet painting. Also, my sharp marketing eye has noticed a trend among the targeted consumer. There is a tendency for people with marble lions at the entrance of their driveways to have a crucifix displayed inside their homes. And, people with marble lions at the entrance to their driveway are also the same people who buy black velvet paintings. So there you go, a natural. If you really wanted to branch out with this one you could make some paint-by- number paintings of Jesus on the Cross, through which the consumer you could sell the video tape to peo- could have one of those creative/ pie that were thinking about buying religious experiences like Harony- a fake fireplace. When they wanted mus Bosch or Michelangelo (the the ambience of a fire, they could just pop the tape in the OOUOUR^ 3. An aquarium that looks like a TV set. Now, I admit that it may be a little difficult to get people to give up watching TV, but I actually have a reason to think this one will work. See, I've watched TV, and I've watched people watch TV, and even my ralher low estimation of the "average person" can' t convince me that anyone gives a rat's ass about what's on the tube. People just like to sit on their couch and stare at that box. So I figure, you keep the box, take out it's guts, fill it with water, add some plants and some nice looking little fishies, and who's gonna know the difference. As a selling point, you could point out that buyers would save on cable and electrical bills. And nobody has ever gone blind by silting too close to an aquarium. Also, people may be able to achieve a kind of healthy, meditative state if they stare at an aquarium long enough. I don't think healthy meditative states can be achieved while a TV is on. Plus, those of us who aren't enamoured with the TV would be spared the obnoxious philosophy TV imparts and which seems to pervade every aspect of society. Yep, aquariums ihatlook like TV's.every home should have one. 4. Videotaped Fireplaces. Along the same lines as the aquarium/TV set is the videotaped fireplace. You would start by videotaping a warm, toasty fire that was going on in a real fireplace. Then *"- hind us, and forge on in search of (Ed.-Actual- ly, due to an office memo leak two years ago at Discorder, someone has already implemented Chris' idea of the videotaped fir- place. This leaves you, the reader, with only four ideas left. So act quickly before they all go the way of the taped fireplace.) 5. The Elvis L«wn Ornament That's Elvis, not elves-elves have been done. Now, granted, this one is a little obvious. You had to know we'd have an Elvis something on this list But it's a natural. Imean, lawn ornament owners and Elvis lovers are one and the same, are they not? And, the Elvis lawn ornament would have certain qualities that traditional lawn ornaments do not Right now, you see, I feel that the traditional lawn ornament is really only valuable for its aestheticqualities. But the Elvis lawn ornament, while holding on to the important aesthetic qualities, would give off some sex appeal. See; I'd have plaster Elvis with his lip curled in that sexy pose that drives the ladies wild. What's more, the Elvis lawn ornament would tl- JpiV make tribute to a great, great man in a very public fashion. And there's more. The Elvis lawn ornament would provide security for its owner's home. Think about it, would you break into a house with a three foot plaster replica of the King on the front lawn? No way. I mean, what could possibly be of value in such a house. The real problem would be people making off with the Uttle Elvis. There is also a hidden agenda here. I envision Elvis taking over from the Uttle black guy in a red porter's uniform as a lawn ornament model. And all kidding aside, that's a good thing. I mean, its usually white trash that buys these things, so why can't they just put one of their own on their lawns, huh? I also think that the characters from those McDonald- ads (youknow.MayorMcCheese and that purple thing that I think is supposed to be a milkshake), have tremendous potential as lawn ornaments. I know I'd buy WeU, that wraps upmy marketing suggestions. Sort of. The natural retail forum for these items? Why the Home Shopping Channel, of course. And to promote sale-snuff advertising (where the people in the Workers Compensation ads really do lose their arms, and the people with headaches really do have furniture vices being tightened on their And if you're silling there saying "Sure buddy, you could make money selling Elvis lawn ornaments, yeah right," then I say to you this. The guy who thought up those baseball hats with a fake turd on the bill and a caption that reads "SHITHEAD" probably had to face a hoard of doubters loo. Bul he didn't Usten to the critics, or overestimate the inteUigence of the general populace, and I'U bet he's rollin' in the green stuff now. Here's to ya, buddy. Vancouver's Largest Selection of Almost New and Used Paperbacks and Magazine Back Issues Large Range of Hard Cover Books Thousands of New and Collector's Comics We Buy, Sell or Trade 1247 Granville near Davie 682-3019 3347 Kingsway 430-3003 Open 7 Days a Week I L O V E I T I C R A V E I T I N E E D I T I W A N T I T ON ROBSON (felf ^^^ Now serving coffee and salads too. 1175 Robson 1937 Cornwall FAMTAST1QUES AND FABULAT10N: Chris Brayshaw meets Clive Barker (again) Clive Barker's having lunch in the lobby of the Pacific PaUsades Hotel when hi- publicist and I interrupt him. A scheduling problem has given me Ten minutes-maybe," before the Sun and Province'i entertainment reporters descend lo pick his brains. We relocate to a table at the front of the room where we chat as I set up my recorder and provide him with a transcribed copy of our lasl conversation together. ("Clive Barker," Discorder, April 1990.) By the time his publicist returns, we've discussed his new novel, Imajica, a forthcoming children's book, Everville, and his continuing dissatisfaction wilh being typed as "the king of Splatterpunk." The afternoon concludes with a reading at the Vancouver Public Library, where Clive is introduced to the audience by a librarian who attempts to read a publisher's press release without her glasses ("Clive is-a writer! And-a movie director! And—"), and a signing at the Granville Book Company. DISCORDER: In our last Interview, we discussed your reluctance to categorize your fiction as belonging to a particular genre. Is Imajica a novel that consciously resists generic classification? BARKER: I've got a number of things to say [about that]. One of them is related to the business of spreading your audience laterally. There's a whole audience out there that simply says, "I don't care how well horror writers write; I don't care how profound their messages are; I don't read horror fiction; end of story." There's a whole bunch of people-I was one of these people for a long time-who say, "I don't read science fiction." What's important is that imaginative fiction should reach the largest possible audience possible, and as long as imaginative fiction is locked into very narrow genre definitions, and packaged accordingly, that's not going to happen. So your quintessential honor reader steps into the store, heads for the sign that reads. Horror, walks past all sons of other material, picks up CUVE BARKER the new Stephen King or the new Dean Koontz, and walks out. I don't want to be in that Uttle section marked. Horror. I want to be included with writers of mainstream fiction; that's terribly important to me. I don't want to feel that my work is the exclusive property of the people who read the genres, who wiU find my material regardless of packaging. Do you think the success or Books of Blood has permitted you to escape classification? Is such an option available to a writer of Imaginative fiction breaking Into themarket today? Sure. It is. And if not, you can fight [classification]. You can say, "No, I don't want that" You may not succeed every time. ..to some extent it depends upon the kind of fiction you're writing. You asked whether I minded'arriving'as the author of Books of Blood. I'm not sure if I'm glad that I'm the godfather of splatterpunk. I did that seven years ago; it was a tremendous experience. Subsequently, no pubUsher has come to me and said, "Look, we'd prefer it if you were to go on writing short horror fiction." As long as the books sell, they're content Did Imajica receive more editing than The Gnat and Secret Show? It seems a much tighter read. I'm pleased that you say lhat. Imajica is perhaps two-thirds as long as The Great and Secret Show, but the scope of iu narrative is much greater. Imajica is a more European book; in Show I was writing about the American scene, and I wanted to write a book which had a popuUst feel. After all, popular culture was the subject ofthe book. To write about it in Imajica's style would have precipitated a clash of form and content It simply wouldn't have worked. It needed a kind of fluidity, an ease with the language. Imajica's characters are articulate; many characters in the Show were woefully inarticulate. Imajica is a kind of fiction which has layers to it; it's a series of stories _nd ideas wrapped around Christian mythology. The language needed something of the cadence of the King James Bible. But at the same time I didn 'l want to write a book which was stylistically alienating. Imajica's language is clear and direct, but it is also very elegant I'U be interested to see what the critics make of it matter. What can we to expect from Everville, your children's novel? Is there pressure on you to censor or bowdlerize your style, given publishers' reluctance to present anything "questionable" to a young st similar to, say. [Ray Bradbury 's| Somelhing WickedThis ■0~ d v_7 Way Comes. It's more than half finished,and I'm telling it wilh as much gusto as I Kfag* wi know how. So I won't be sanitizing things. If that gets me into trouble, so be it J\A \i 1 ■ 01 to en > The biography on the back of Imajica lists yon as, among other things, a short story writer. Yet you haven't published any short stories lately- have you given up on the form? No. No, I haven't But in k tT^—y ^ terms of the '/i__C >> amount of work I've been doing, I haven't had time for short o fiction. I've just finished a 1' *•*■*» - ^»>^p^ ra screenplay; (__to_K? S Imajica was a huge project; ^uA _3 Hellraiser III is -x"*»W^**""V» ■_* .£ being shot as we Tl i( "/*• ft'- speak; a movie called Candy- man, based on a ihort story of mine caUed "The Forbidden," is being directed by a man called Bernard Rote [director of in absolutely supurb fantasy film called Paperhouse; now out on video at Videomatica]; and I m at work on a top-secret science fictior project for Universal So movies are currently occupying moat of my time. One final question: If someone had told you seven years ago that you *d be doing all of this today, would you have believed them? I wouldn't have forseen it If you'd asked me this question every year, I would have shaken my head and said, "No." My writing experience has been one of following wherever my imagination goes. So all I can do is foUow it as relentlessly and religiously as I can. SECRETS ENTRUSTED TO A FEW BY JUDITH BEEMAN The best way to sum up the words and music of Leonard Cohen is to recaU the headline used for a Cowboy Junkies revie w...il went thus.. Jf il'slooquiet.you'retooyoung.Thotc words, of course, are a jab at that old cUche..J/ it's too loud, you're too old...words, gulp, same of us once stood by. Unfamiliar with his work, I had dismissed Leonard as a mopey depressive and, frankly, was annoyed by Judy Collins' version of "Suzanne." Then in 1986 Famous Blue Raincoat was released by Jennifer Warnes, an album of Leonard Cohen songs, including her rendition of "First We Take Manhattan" which became a hit Famous Blue Rain coat also included"Joan of Arc," "Bird on a Wire" and "Coming Back to You." Hearing these songs sung so beautifuUy-no offense Len-by this woman gave new inspiration to the music. Cohen had been a star in Europe for years but not so big at home. The release of his I'm Your Man album (88) in Canada changed all that I took notice ofthe old smoothy from Montreal. The album is a classic: sex and religion, it's safe to say, are the predominant themes. The lyrics grabbed me, then, turning attention tothesinger.Isaw that while still melancholy as heU, he had a flair and use of black-humour not noticed before. At 53 he was enjoying the biggest international success of his 32-year career. Maybe he had developed a better sense of humour, maybe h»« had meUowed out- many people began to "discover" this Canadian legend. This Fall more people wiU get the chance to experience the poetry of Cohen through I'm Your Fan, the recent double-play coUection of artists covering his tunes: folks like the Pixies, That Petrol Emotion, Ian McCulloch, House of Love, Lloyd Cole and Nick Cave. And that's only6of the 18 bands involved I As Cohen's recordings run as far back as 1967, this anthology includes cuts from his entire career including "So long Marianne," "Who by fire," "I can't forget," "Suzanne," and "Chelsea hotel." Compiled by Chris - dan Fevret editor of French rock mag, Les InrockuptMes, the tape also features artists little known here: Bill Priichard, Geoffrey Oreyama, Dead Famous People and Murat At the sun of his musical career Cohen's voice was rather Dy- lan-ish with a folksy twang; his latter work portrays a throaty croak, years of cigs and a poet's Ufe added up. Renditions on I'm Your Fan run from faithful (John Cale with "Hallelujah") to the downright abstract (Nick Cave's version of "Tower of Song"). Why all the fuss? Leonard Cohen's songs combine confessional lyricism with the sort of melodies you find yourself humming days later. His words could be your words, your thoughts. It may be quiet, but it The Leonard Cohen Playlist: selected poetry/recordings/books The Poet Let Us Compare Mythologies (56) Flowers for Hitler ((A) Parasites of Heaven (66) Selected Poems 56-68 (68) Go for this onel A 'greatest hits' of his poetry. If you have that great Collegiate Bible, "20th C. poetry and poetics," he's in there too. The Author The Favorite Game (63), a young man's coming of age in Montreal. Beautiful Losers (66), simply put, a mythical love triangle. The Musician Songs from a room (69) Songs of Love and Hate (71) New Skin for the Old Ceremony (73) Best of Leonard Cohen (77) Various Positions (84) I'm Your Man (88) TheC Like a bird on the wire Uke a drunk in a midnight choir I have tried in my way to be free Uke a worm on a hook Uke a knight from some old-fashioned book I have saved all my ribbons for thee If I have been unkind I hope that you can just let it go by If I have been untrue, I hope you know it was -excerpt. Bird on a wire. I said to Hank Williams How lonely does it get? Hank Williams hasn't answered yet but I hear him coughing all night long, a hundred floors above me in the Tower of Song I was bora like this, I had no choice I was bom with the gift of a golden voice and twenty-seven angels from the Great Beyond, they tied me to this table right here in the Tower of Song -excerpt Tower of Song The reason I write is to make something as beautiful as you are When I'm with you I want to be the kind of hero I wanted to be when I was seven years old a perfect man who kills The music crept by us I would Uke to remind that the drinks are watered and the hat-check girl hassyphiUs and the band is composed of former SS monsters However since it is New Year's Eve and I have Up cancer I will place my paper hat on my and dance American author Edgar Allan Poe was thee spook-master of an era (mid 1800's). His mystery/horror stories have been staples of late night fright for over a Century. And if you haven't read'em you've proably seen the movies! The Fall ofthe House ofUsher,Murders in the Rue Morgue and, my childhood fave. The Pit and tke Pendulum ('64 dir. Roger Cotman, w/Vincent Price) are available on video. There's also the wonderful Alan Parson album. Tales of Mystery and Imagination which sets The Raven, Cask of Amontillado and the ever scary Tell-Tale Heart to a "rock" soundscape, early copies included a detailed history of Poe and lyric sheet. One of Poe's stories dealt with the theme of Madness, Debauchery and Plague. This tale. Masque of the Red Death, written in 1842 recounts the adventures of the lurid Prince Prospero and his band of "a thousand hale and light-hearted friends from among the knights and dames of his court" who are summoned to the Princes' castle to be sealed in, there's "Red Death" about and this move is to protect the healthy and damn the ill. Forever. The story teUs of a nights event-a staged masked baU held in seven different rooms, each a different colour. Needless to say, it's pretty intense. You can discover the Masque of the Red Death through the joint effort of grunt gallery and the Public Dreams Society who are presenting a multi-media extravaganza at 1460 Burrard Street during the entire month of November. What makes this interpretation special is how the tale, heard in 1991 is an allegory to today's Plaguc.AIDS. The ideas discussed in Poe's fiction: locking one-self away, ignoring disease and basic selfishness are as timely today as ever. A Uvely re-teUing of a Poe classic with a serious message. Copies ofthe story are free on-site, performances will be Nov.1/2,7/8/9, 14/15/16 at 9 pm wilh admission set at $12.-come in costume and/or mask and be prepared for powerful theatre and art work. Suffice to say, with 9 Artists, 6 Actors and 4 Musicians, this show is big-big-big. The exhibition is also open daily Tues-Sat 1 l-6pm, 1 Loon admission. Go-Go-Gol on till Nov. 30. PEOPLE ARE READING Ever wonder what people are reading? I do. Anna Banana, local artist and mail-art aficionado, took the time to write and tell subtext. Usually, I've got one book on the go, and that'sit, aside from a magazine or newsletter. But I'min a funny phase just now. I've recently completed the entire 8 books of Carlos Castanadas' series of adventures with Don Juan, and nothing so compelling has come along to fill the gap. In the meantime, I have several book- on the go at once and they're from all over the spectrum. Certainly the most gripping of these, in tenris of conceptual shake-up, is Rupert Sheldrake' s The Presence ofthe Past, subtiticdMorophic Resonance and the Habits ofNature; which challenges our notionsofhow characteristics, learning, even myth, are passed from generation to generation. Sheldrake, a British biochemist, teaching now, I believe at Cambridge, methodically goes through the theories that science has come up with to explain heredity, shoots holes in them then replaces them with his hypothesis of the "morphic field which contain an inherent memory." Another of my 'on the go' books, is John Held Jr. 's MAIL ART: an Annotated Bibliography. Not exactly a gripping tale, it's definitely an 'insider' book which details the history of a very low profile field of art activity that has expanded dramatically since its inception in the mid-fifties. It's a mammoth effort by a librarian dedicated to the field, if not to accuracy in the reporting of his findings. His three introductory essays, that cover this activity from 1955 on, is long on established academic male bias, and COMPLETELY OMITS any mention of my substantial contributions to the field from 1974-1980; ie. 6 issues of VILE magazine and umpteen editions of the Banana Rag. However, if you want a fairly extensive view of the activity...sans Banana, don't miss it! The third of my 'read-a-bit-at-a-time' books, is anodier anthology, Performance aulin Canada 1970- 1991. Prepared by Alain-Martin Richard and CUve Robertson through Editions Intervention in Quebec city, this bilingual, 395 page whopper is hot off the press from Toronto's Coach House Press. A large format book, it features a chronology of events form 1970 on, full page photos, and essays by some of Canada's more prominent practitioners and critics. I haven't had it long enough to comment, other than to say, it's another monumental work. Available through the Western Front The other side of the spectrum comes from the periodicals to which I subscribe. These provide social commentary from both serious and irreverant viewpoints; Mother Jones magazine offers the serious commentary on world affairs, and a really down-home scrutiny of life in America. To balance this perspective, I enjoy both Paul Krassner's Realist newsletter and Reinhold Aman's Maledicta Monitor. Krassner continues his assault on poUtical Ufe in America with spoofs such as "Bush's letter to Hussein" and "The True Story of how Columbus Discovered America" (he was sponsored by die Mafia, who in their own egoless fashion preferred Queen Isabella to get the credit, while they continue to get the cash). Meanwhile, editor Aman, A.K.A. Uncle Mal, monitors world media for 'bad language', jokes, slurs, crudity, stupidity and the like for his substantial, sometimes annual journal, Maledicta. For those more indined to Uterature, Vancouver's recent Geisl, edited by Stephen Osborne, has proved to be an ongoing treat With it's share of tongue in cheek, Geist presents a variety of short contemporary writings that so far, have captured my interest no matter how mundane the subject may seem. Items such as Greg Snider's "Garage" or Caroline Woodward's "Farm Stuff." With 5 issues per year, it's a cover- to-cover read for me, and I like to support a local effort with a subscription (sample copy 4 bucks, #100- 1062 Homer St.-Judith). PrcmlCcunter-ciJlture by H. Julian I iii<-m ture So heavy metal pukeheads are concerned about Sex, Drugs^ and Rock'n'Roll. Why is it then,that Rock'n'Roll is the most important one? Anyway, i've been part of the Punk/New Wave/ Alternative/Progressive "scene" for longer than i can recall (Which comes to anything more than two month; or thereabouts). I've seen innovators turn into musical dinosaurs like the Rolling Stones and i've seen innovators release an EP and promptly disband. I'm no authority. I've got the shiftiest taste in music. Well, i don't actually know that for sure, BUT, every time i introduce someone to new music they listen attentively only, whilst i'm watching their reaction, but when i leave the room, they shut it off. Anyhow. There was once a time when alternative music was exclusive. Though of obvious significance, it was once the sole property of disenchanted, white, middle and lower class youths. As a matter, of course, it happened to be a British invention. Not surprising though. North America doesn't create new music. Every "American" type of music is just another evolutionary step in someone else's music. Rock'n'Roll is just a white-bread version of the blues which could be bunched with jazz which in turn is just African slaves' gospel music with a heavy dosage of hormones. Even that country shit that Americans are so proud of as their own is someone else's. Along with square-dancing, it's just like any British/Scottish/Irish jig and reel with a couple hundred years of isolated growth. Y'know, I wouldn't be surprised if all music, as we know, it evolved from a waltz written by some few, living in the Teutonic region of Europe. O shit! What was i talking about? I'm rambling on, eh? I've been told by a lot of people that when i write i tend to ramble and lack continuity. So what? This ain't the fuckin' New York Times. Anyway, it seems as if the whole "punk" movement can be traced back to the Sex Pistols and the Clash. Sure there were other influential bands but if your gonna be a nitpick, Jack Kerouac remembers seeing "the bearded, laconic sage..and his girlfriend who says nothing and wears black" way back in 1944. And if you deny that the Beatniks held similar musical attitudes to the sombre, black-bedecked Gothics of to-day then you must be abysmally ignorant or simply just a big git Ranging from politics to religion to fashion, their disdains are practically indistinguishable Now i'm not suggesting that the Pistols held a lock on political commentary. If you can get past Chaucer's scatological fascination, you'll find more politics than you could shake a tallywacker at. I'm sure that someone before the 130CS also attacked the dirty fuckers in control, but they didn't write it down. But punk of the late 70's was truly revolutionary in that it held no reverence at all for such institutions as the Queen + the Church. Nor did they seem to hold sanitation in any high esteem either, so go figure. Remember, we are talking ancient history here. Really. Robert Smith wasn't fat yet. So what bearing does it have on what we're hearing to-day? LIFESTYLE 8 -*v*> Well, attitudes and such haven't changed. Alternative music is still counter-culture. T ie values in the music are not the status quo for the rest of society. Must be. The Earth hasn't been utterly decimated yet. But these attitudes must be fairly influential. I know they won't touch the Postwar Baby-Boomers (too fucking isolated in their memories of seemingly influential youth). And the same attitudes are a tad bit much for Baby-Boomlets who've only just become accomplished with the English language. So they must be important to the people in the 25-odd year gap in between. And damned if those attitudes aren't prevalent. I remember, a few years back, i was loathed + feared as being a misfit + a malcontent + so on. Now the all those lost people of our generation are starting to appreciate the ideas put forth in the music. Hmmm. So what has this done to the musical movement that started with the pistols et al? Well, there's a lot more people out there now listening to the stuff. How else did Coast 800 get on the air and become even moderately successful? It used to be there were two types of stations to hear alternative music played on: your local college radio for your local music, and CBC radio, after 11pm, for national music. Oh, i guess i should add that MuchMusic plays alternative videos too. But who want to sit at home on Friday night to watch videos by bands that are so "safe" that a record company will sponsor a video? I suspect the CBC will stay with the same format as long as bands are still produc- ~ing the same type of music but the others i'm not so sure about. MuchMusic is hardly a shining example of open-minded adventurism. They've banned more decent videos than i dare consider (But, the French sister station, MusiquePlus, is not at all squeamish about Mitsou flashing her tit. Maybe Moses Znaimer, producer at MM, could go on record for having the tightest asshole in existence.). Even college radio, long the stalwart protector of musical deviation, has started going commercial. Along the Easter Seaboard in the States, college radio is becoming commercial. They aren't yet handing out cash arizes or sending guys in minivans to the beach (what are alternative people doing out in the sun let alone basking on the beach?) but they're getting there. So, if the radio statit ,ta are becoming more commercial, then the music wih become more commercial so it will get played. And it already has. Have you been subjected to Consolidated yet? Potentially the most politically-correct pieces of shit in the alternative music scene. Sure they're aware of the sociopolitical aspects of to-day's world but the edge is just not there. Face it, the Dead Kennedy's they're not. So even the progressive tunes are not radio-friendly. Is this what caused the sudden appearance of so many thousands of poseurs? I suspect it is. No one would touch Siouxsie & the Banshees when they looked like botched gene-splicing experiments. But now,since she looks like your average Mid-western housewife, she's a hot ticket. And i fear this. By my nature i am an elitist (The deranged product of a British background where class distinction still counts). Why shouldn't i fear this? It's all well and good that bands that deserve recognition are now getting it but it's like my favorite cafe; It was my special wee nook in the Hellish Kitchen of Life. When they added three more stools i was devastated. Now there are tourists coming in. Plus I have seen what happens when a "new" musical movement becomes popular. Think about it. Look at rap music. When it first reached beyond the inner-cities, it was thought of as the first stage in an uprising by the Black people. Then Grandmaster Flash and his ilk got onto MTV. And the establishment got a hold of them. And it begat the likes of M.C. Hammer and Vanilla Ice. What started out as a counter-culture has become yet another sub-culture of greater Western culture. Imagine, ifyou will, Sid Vicous surviving long enough to do an endorsement for Pepsi. Can you imagine alternative music lasting a year longer? I don't want to suffer that fate. I revel in the distinction that my music allows me. Fashion changes. Morality changes. But music is impervious to the seasonal variance of the others. Alternative music is about looking forward: looking for something different. If all music suddenly becomes new, unusual + distinct, there won't be any mainstream music left to hate. So i'm not going to embrace these pukes who "discovered" Depeche Mode in the late 80's. Go back to your Top 40 soon. When's Bruce Springsteen releasing his next album? _*__# Souffle a' Sarcophage by Ahasiw Kitocigan Maskegon-lskwew (Donald Ghoskeeper) Intensive repetition or chanting of a word will cause its meaning to alter and shift / Filth / Filthy / Filthy ones / Also, when cojoined as a universal adjective or adverb, it will cease to be of any effect / Filthy love / Filthy hate / Filthy joy / Filthy fear / Filthy rage / Filthy thoughts / Filthy memories / Filthy acts / Filthy deaths Filth / Filth / Filth / Filth / Filth / Filth / Filth / In isolation from all others, mirroring only itself, its meaning is empty, its power lost, its dangerous abilities rendered impotent / however, the vacuum thus created begins to suck away all other meaning and significance / once incited, the consumption proceeds unstop- pably, in geometric progression, dissolving great patches of infinitude and potentiality The body of my mother. Marguerite, implodes. Pressure from the eyes of the grieving children and the weight of the hot, still air squeeze the skin down between her ribs and tighten it around her bones. Each breath, her mouth gaping and dried, escapes more fully; enters less. The stump of her leg lies withered beside her uncovered sex - stretched tightly over the jutting ridges of her pelvis. All the light of the room is devoured by the hungry eyes of the children. Hers, fixed, empty, half-open, gasp at the darkness as it pours in, filling her. The long waiting leading to these massive, corroding seconds is almost over, the one leading away almost begun. Her last breaths are exhaled directly into the distant mouths of the children. Their organs writhe, seeking to break their frozen bodies into motion that will not come. Movement is hardly possible under the great weight of this waiting. Sunday Morning IidZuuq: 'juab:..; ado ■:*■„„ «o DesHny:Jealous H»av«i He stared into the mirror. The bathroom was steamy, but he could still make out the details of his form. He stood, afixed by his own gaze for some time, sliding his hand over and over the cold condensation on the bottle of Jaszbereni Rizling that rested, half-consumed, on the counter. He was afraid to look at the reflection of his pubic hair, or to contemplate the vaginal juices encrusted upon them. He was afraid of the violence within him, his dependencies, his lack of motivation, and most of all, the Truth. The bottle suddenly pressed to his lips and a cool, harsh sensation flowed across his palate, down through his chest, and landed with a satisfactory thud in the bottom of his belly. "If Christ were here, I'd show him a fucking thing or two!* The straight razor was there on the counter, as it always was. With a quick flip, it was open and resting against the wrinkled skin of his scrotum. He contemplated the strength of his resolve. He watched his iris widen, then the twitch of his shoulder that started a chain reaction down his arm and through to his fingers until the tip of the blade pierced the dermis above the left testicle. He paused while a small, warm trickle accumulated down the inside of his thigh. Then, with only the slightest pressure he twisted his wrist. The trickle became a cascade, and a tiny thwolop resounded against the tile. He smiled, a man in control of his own destiny. A hundred years within this alloted lifespan What a sheer hatred bstwssn the fat. and gift of AAulberrles nov/ grow where ones rolled the sea People arm sick at heart with thlnos they see The law of counterpoise Is not so strange Jealous heaven of wrongs rosy cheeks for revenge she looked dignified, no challenge knowing: A moon shaped face with brows In nice drawing A flowering smile, a voice sounding like |ade A skin excelling snow, hair the stallion shade Her grace is especially deep and keen Wmr eyes recalled all fall streams, her brows spring Too flower* an willows as well envied her hue ' glance, repeated could shake towns, even a stc Her gift Is quite pureless. her charm so great Being graced by heaven with natural wit. 'Cruel fate' a choosen creation of hers. So sad It could move people to tears For such a bright lady with such a dull fate A glittering life down at such beaten rate Why does she meet me. who went past me? Could there be any link for life at last? Her bosson of hundreds of riddles so full She poured a nice lyric fourth from her soul. /V\ellssa Anne Nelson) Life, The beloved toul where the tun may. Behold a sunny ray for a brighter day. Within the depths of the earth. Mother nature beats a drum for the One who may always run. In the sky may lie a single white. Cloud which will sing out loud For the cheering crowd. The moist groind will sound the birth. Of the seeds below the beloved earth. The life that roams It's free land stand. Tall, and so very grand. Danger may stalk, but does not over power The so very few reasons of birth. The test for a new example, may only be A minute sample of the freeing race. And a happy face. Let green always be green, and save The earth we live on for the new Life beyond. (Melissa Anne Nelson) NOVEMBER 35 Mindy s Top Ten Advertising Slogans (Someday &nr%/f*my 1 Mother nature's gas station.... 2A vote tor the Uberal Party b a vote tor the NDP 3 We'll change our sex before we change our music 4 Madonna 5t_a anything 6 I've fallen and | can't get up 7 You're really gonna love It when you pop It In your mouth.... 81 just had a hippopotamus for lunch QSIry wabblt. Trtx are for kids '-Canadaj first non-smokingclub The IVtax Thrust Show (Thursdays 8:J.S-10:00am) 1 The Doves Affinity-"Wouldn't Know You From the Re*f _ John Lee Hooker Mr. Lucky -*l Wanna Hug You" 3 Satan and Adam Hortem Blues-'Sweet Home Chicago' 4 Bob Geldof... Vegetarians of Love - "The Great Song of Indifference' 5 Spirit of the West Go Figure-'Goodbye Grace" 6Anger Means Not Human Anymore T EP 7 Abbey Lincoln... The World b Falling Down - The World Is Falling...* 8 Innocence Mission Umbrela-'BeglnnlngThls Worfd* Jiggle Top Ten Foods For Kids (Wednesdays 7:0O-9:00pm) 1 LauraSecordMintyBars.... 4 Ding Dongs (aka King Dons. why?).... 7 Fruit Punch Slurpees.... 8 Generic Pork and Beans.... 0 Gavin's fresh baked treats.... 10 BlgRedCreamSoda. Master DJ Tom-EZ's Top IO (Thursdays ll:OOam-l:OOpm) 1 Public Enemy/Anthrax Bring The Noise 2Crosby.Stills.Nash.andYoung.... 3Chat1le Mingus' Jazz Workshop.... 4-ane's Addiction.... SButtholeSurfers. Suite Judy Blue Eyes Hold Em Joe ...Fight The Power Stand ... DonlLet tt Bring You Down Melanoma Carcinogen: Everything Causes Cancer (Fridays l:15-2:30pm) 1 Bukhara Musical Crossroads of Asia (Smithsonian. Folcways) 2 Classic Swede Swede ToleklBango (Crammed Discs) 3DeathRayCafe Built on Good and Right (Pagan) 4GenbakuOnanies Forward Command Post 7* EP(PubJc Bath) 5Men2nd Plato's Highway (Crammed Discs) •SelgenOno NekonotoptaNekonomanlaaMTMVoL 29 (Crammed) 7PGR/Merzbow/AsnrnjsTletchens Grav(davEntertainment) 8 Ranking Ann A Slice of English Toast (Ras. Artwa) •MHIadoIro CorteBum Honest! (Fes tival.Green Linnet) 10 Poesie Moire TobutaBasq(Antler«Subway) NOVEMBER 91LQQQQNG GROOVES 101 ...Nevem*td(MCA*DGC) ... 13-PoW Program to Destroy America (Dischord) JanBors of Tomorrow (eMpTy) Tiompele Monde (PolyGram«4AD) .Apocc#yp*e91 (Sony.DetJam.Rush) BaheCAAM) BloodSugarSexMogBc (Warner) .. Scavenger (SubPop) 8 Red HotChll Poppers 10 TheWafcabouts. 11 The Young Gods Flay Kurt We«(Caro*>es Play ft Again Sarin) 12 Coffin Break. „ Crawl (Epitaph) ... Pennywise (Epitaph) ...drcl»C(MCA.DGQ ... Steady DM of Not hkig (Dischord) Gump(MCA»Chrysals) ...Batch (Cruz) 18 OrdoEqultusSob SoWII Temports (Musica Maxima Magnetlca) 10 Sarcastic Mannequins UBIe Brother (Eyecon Industries) 20 Queen Latifah Nature ofaSWaaammyBoy) 21 VarlousArtists TheBigOne:CtyofLA.Power(Flpslde) 22 Celtic Blue Brec*k>g Trad-ton* (Celtic Blue) 23 The Vandals Fearota Punk Planet (SRO.TrtpteX) 24 Look People Boogaan(A&M.Hypnotlc) 25 BIBngsgate. 28 EdsRedeemingQualtles.. 27 Bit/Chldlsh 28 MC Lyte. No Apoiogtes (Cargo. Nemesis) More Bad Times (FestlvaUFIylngFish) lamtheBiyCha_kh(SubPop) Act Uke You Know (Atlantic) 20 Les Thugs I>.B.F. (Alternative Tentacles) 30Godflesh Slave«tale(RelatM1y»Eafache) 31 BilfyBrogg TryThatl(PotyGram) 32 Fudge Tunnel Hato Songs hE Minor (Relativity. Earache) 33S.N.F.U The last ofthe Big Time Suspenders (Cargo) 34 Various Artists HMoryotVancouvefRock»RoftVolume4(VR.CA) 3SDaslch Die Propheten(Darse Macabre) 38 Naughty by Nature Naughty by Nature (TommyBoy) 37 Monster Magnet SplneotGod(Carolne.PrlmoScree) 38 Chemical People Angels'n'DevBs (Cruz) 30 Hole Pretty on Ihe in*lde(Ccirolne) 40DieWarzau Mg Electric Metal Boh Face (Atlantic) 41NanaMouskourL Onty Love (PolyGram) 42 Skin Yard.... 1000SmllngKnuckle*(Cru_) 43 NapalmDeath Death by Manfeulalton(ReiatMty«Eciroche) 44WekdPaut LoFldelty, HI Anxiety (Homestead) 45 Queen Mother Rage VanglortousLaw(Cardloc.Black Watch) ""MM Too Cool ForSatan (Satyricon) 47 Alice Donut Revenge Fantasies ofthe Impotent (Alt. Tentacles) 48LaMuerte Kustom Kar Kompetttton (Caroline. Play It Again Sam) 40 Don't Mean Maybe Real Good Ufe (Dr. Dream) 50 Cypress Hill Cy (Sony.Ruff House) 51 Mel Torme& George Shearing 'Do'WWll(PolyGram.Concxyd) 52 Voivod Angel Rat (Mechanic) 53 They MIchtBeGianls MkceOaneoutT(Re*ness*BarNone) 54 H.EAL Civilization Vs. Technology (Warner. Elektra) 55 Thin White Rope The Ruby Sea (BMG.Frontier) You're Gonna Miss Me (Restless) 58 FrontUneAssembly.... 61 John Lee Hooker tm. Lucky (Warner.Atlan tic) 62 PGR/Merzbow/AsmusTtetchens Grav(dcvEntertalnment) 63 AgentOrange Rea I Uve Sound (Restless) 64 Various Artists Gospel Celebration (Spinner. K-Tel) Spinout Spinout (Delicious Vinyl) 66 PosterChJdren 67 CabaretVoltaire The Odds. ... Neopo»an(BMG.Zoo) 70 GotfsUttle Monkeys.... ...NewGMOtd Story (Cruz) 71 Ranking Arm A Slice of Engfch Toast (Rco.Ariwa) 72 The Zeroes 4-3-2-l...the Zeroes (Restless) 73 MJIadoIro Castellum Honest! (Festival .Green Linnet) 74 Statecf Mfrid The Road Inside (Stateof Mhd) 75Satan&Adam Ha item Blue* (Frying Fish) 76 Unleashed Where No Ufe Dwetts (Century Medta) 77 ATribe Called Quest The Low End Theory (BMG. Jive. Zomba) 78 Scientists Absolute (SubPop) 70 Classic SwedeSwede .ToleklBango (Crammed Discs) 80 StrawberryZots LoveOperatlon (Continuum) 81 Minutemen What Make* a Man Start Rres? (SST) 82 Various Artists Estrus HalfRock (Estrus) 83 Poesie Noire TabutaRaM(Antler.Subway) 84 Johnny Heartsman The Touch (Wamer.Alli gator) 85 Crumblowers Coto**u»(RecortiauHeadstun) Tlmbuk3 Big Shot In the Dark (Capltoi.IRS) 87 Various Artists-Soundtrack. TheComm»menls(MCA) 86 Death RayCafe Buff on Good and Right (Pagan) "The Wendy* Gobbledygook(Warner.Atlantlc) Pearl Jam Ten (Sony* Epic) 01 Lomie Brooks Satisfaction Guaranteed (Warner* Atgator) 02 UrbanDanceSquad...Ure'nPerspectlvesofaGenulne...(BMG.Arlsta) 03 Bolt Thrower War Master (Sony.Earache) 04 Grave Into the Grave (Century Medta) 05 Texas Tornados Zone of Our Own (Warner. Reprise) 06 Various Artists Veteran DJ Jamboree (Ras) 07 Material TheThkd Party (Axiom. Island) I Uoyd Cole.... DonlGetWeirdon Me Babe (Capitol) 00 Slayer Uve: Decade of Aggression (Def American) 00 VarlousArtists C4P Records Compilation (C&P) 0124Gone TheSpln(BMG»Oceana»Onslot) 02 Crime .„ San Francisco's Doomed (Soiar Lodge) fttVEMBER 91 SINGti MAfifCTTC PAIffYftflfflES 50 llndedsive*.... 3Jkmiyftays5StarH_b_te«. 4 Show Business Glonts 5 Total Experience Gospel Choir 0 Surfdusters 7 Perfume Tree •GoGuy •Jack Feels Rne lOWIndwafcer 11 Sweaters 12 Wheat Chiefs ISTenorT. 14LesMc<adesMartea_x. IB RandomKHIng 18 Dr. Shkry Forehead 17 KatNeen Yearwood IS Show Business Giants 1»PtehxePc*itlix>s 20 Stavoe Tango Ensemble 2lFurnacetaoe __PurpleClry 23 Evaporators 24 Crazy Fingers 28 Monica Schraefel A Her Hungry Band.... 28 Ten Feet TaH 27 Perfume Tree 28 Mother Tongue " "i The 14th Wray 38 Shine 31 Crazy Fingers. SaMlnstre-onSpeed 33GodsMom 34TenFeetTall 38 Red Fisher 36Waystrels 37 Steve Headrick 38UnevenSteps SOHoofarurrp 40 Planetof Spiders 41 Jerome 42 Hitting Birth 43 Kiss Khs'n' Bang 44 Sand Dooms 48 Brian Bonet 46 Tombstone Etiquette 47 Cots Game 48 Gardenof Earthly Delights... 40 The Suns 50 Factor X ThePoplThUg Let's Get Together ...Hold Yer Own Worfdb Too Crowded Who's Dead Inside? Whle My Dod Gently Weep* Lavender Jane Vampire Blue* CoodtoSee You Again I Used to Be Crazy Death hi Pi I not hue „._ICho*e ... HaOuclnatton Generation BeoutttulSon King Louis Blues Lymg ReaBty Check Beat of the Sun ... Star of County Down CalMeaSlnner DoTeB She's My Girl TiaveBngUgt. Love Me Stray Kids 6- Vattant on the Mounted Highway iwanlYou (Winona) The Snlpei ...Running Free NOVEMBER 91 SHORT GROOVES 50 lWlndwalker/Tankhog....AMIntlsaTerrlbieThlngto taste Spitt7*(Mnt) 2 Superconductor The Most Popular Man In the World* r (Scratch) SUndertow/Resoiutlon SpB*7"(Overklf) 4Supersuckers Junk 7" (eMpTy) BVarious Artists Blob* Volumel: Four Victoria Band* (WayOutl) 6 Anger Means Not Human Anymore 7*EP (Skene!) 7Crackerbash Holday7"EP(lmp) 8Electric Ferrets.... •The Mortals.... ... "2-5-4" 7" (Dionysus) DteWegrallon 7" EP (Estrus) Ro*y Jack World 12" EP (Mammoth) 1l2UveCrew "PopTtK_Coochle"12"(Attantlc.Luke) 12 El Vez. The Mexican EM* rSynpathy for the Record Industry) ISLung PsychopomadeBar (Scratch) 14Vegan Reich 7" EP (Hardline) 15 Black Angel Death Song Nothing Equals Nothk>g 7" (Dionysus) 16DMice "25TaUle*12"(Sony.DefJam) 17Rsh&Roses FriarTuck Record T (Ajax) 16Javler&theStr8)ackers "The Other Guy* 12" Ochtoan) WMudwImH 3-*ong7"EP(lmp) 20 Statement Prepare lor Battle 7" EP(HardUne) 21 OswaldFlve-O *ALoveSupreme*/"Cru»hproor 7* (Imp) 22 Mono Men Boozer (Estrus) 23D.C. Beggars You're So Pretty But You Make MeSlckr(Ratho_se) 24 Icky Boyfriends. „ 4-*ong7"EP(C&P) 25PopDefect.... Game of Fear 7* (Dionysus) 26StunrpyJoe *loveP1umb»rAW.S.B."r(Poplama) 27Hypnolovewheel "WoW/"KMG-3«T(Alas) 26 Shadowy Men.../Change of Heart. Spl»7" (Cargo) 2«Curve "Frozen" CD-5" (Vlrgln.Charlsma) SOTheGrtfters The Kingdom ot Jones 7' EP(Doink) 31 Ignatius "Sweeltlsh"/"Mr.Gauge"7"(Sience) 32 Treepeople/Houseof Large Sizes Spit 7" (Toxic Shock) 33 Stereo MC's "Lo*tlnMu*lc"ir(4th8iB'way.lslcind) 34Llys. * February Fourteenth*/*Threw a Day" 7" (Slumberland) 36 Dream Warriors 'Folow Me Not" 12" (4th & B'way •Island) 36GenbakuOnanles Forward Command Po«t7"EP (Pubic Bath) 37JustSayNo *Qlckets"/-Fa-edtheTe_rr(Rave) 36 Lady Fresh ■*UackCt_UK_k*n_"(ValeyVue) 36PaperTulps 3-*ong7"**P(Flpslcle) 40LosBlchos.... 43Phunhogg.... 44TinaChopp.... ...."WfchlnShBr 7" (Ohuka) ..."PBhe Helmet" 7" (Estrus) 4-song 7* EP (New Rage) . -Uttea" T (Davies Productions) ... *Story of My Ufe" 7* (Wheezing Panda) 46WeeHuggum 'HeodacheTBadSWei*7"(Szanktone) 46 Armand Schaubroeck "Baby Love I'm Comin' Home" T (Mirror) 47 Captain Condoms Kinda Kool 7"EP (Public Bath) 48HelBiys "DrogstrlpGIri" 7" (Dionysus) 46 Drone Voice of Reason 7* EP (Vinyl Communications) 50 Raid Words ofWar7"_P(Hdrclne)| 36 NOVEMBER SUNDAYS ARE YOU SERIOUS? MUSIC 8:00AM-12:00PM The newest new music end Information on concerts, recordngs. and corrpos- ers with host lan Outchtey. THE BRUNCH REPORT 12:00-12:15PM News. sports, wecrher and more wtth the CiTR NewiSporticn- Weather Deportments. THE ROCKERS SHOW 12:l5-3flOPM Host- George Barrett and Mike Cherry. Reggae hna al styles and fc_hlon. Dancehd, Dub, Roots. Lovers-rock. Rock Steady. Ska and beyond! THE SUNDAY MAGAZINE 5:00-5:JOPM Al Ihe dcr/s news, weather and sports. Plus an In-depth htervlew. movie reviews end more. Hosted by Ljc Dinsdde. HEARSAY 5:JO-6:OOPM CiTR'sIteraryarts program needs YOU to ubrnltyourworl- for orvdr performance a readng. MAURY*} GOT THE NIGHT OFF HX-9MM Kooky antics, current irrelevcnt Issues. JoeJodtsoaPantow.lce-T.Hetoostord. aid your cod raqjesh. Hosted by Keren Toddngton and Uoyd Ukna GEETANJAU»«>-10:00PM Geetan)allsa new onehour rado -X>w when fea- tue» a wide range of music from hda This includes classical music, both Hndurtai end Camallc, popda mu- sc from hdenmovtes from the 1930s to the 1990s. Semi-dassicd music such as Ghazds and Bhqjans. and also Quawwdb. Fok Songs, etc. We wfl dso play songs from various regions of hda. In dl Its rich end dverse languages. We wl try to present a 5 rrinute tak about hdon mu*:. hshurentj, dngers, musicians, etc. based on the research that we conduct every week to hform and educate you Hosted by Jyotl Dho-and Prodeep t&mar Nandam. RADIO FREE AMERICA 10:00PM- 12:00AM Joti host Dave Emory and cdteague Mp Tuck for some exVaodnay politic- reseach guaranteed to moke you think twice. Bring you tape deck and two C- 90_ Ori*x_y broadcast on KTJC (Los Altos. CdBarta). MONDAYS THEMORNINGSHOW 7JO-M5AM Woke ip with the CTIR Momhg Show. Al the news, sports and wealher you need to start you day. PUwhafshappering at UBC each day with UBC Digest, a feature interview and more. Topped off with ihe BBC World Service News at 8:00AM, Ke from London. England Hosted by km Gunn and Antje Rauwerda BREAKFAST WITH THE BROWNS 8:15-11:00AM Your fovoutte brown-stars Janes and Peter offer a savouy blend of the f arrH- kr ond exotic h en excitingly luscious blend ot cud detghh. Tine In and enjoy each weeMy brown plate spedd. DON AND GOURD'S STUPID RADIO SHOW 11:00 AM-1:00 PM Random selection, mitipie exposures, DA, Dust Buries. and a mission from God THE AFTERNOON REPORT 1:00- 1:15PM News. Sports ond wealher. MEKANIKAL OBJEKT NOIZE 1:15-3:00PM OTRs only al hdustrld / tectn'cd / electronic tfiow with dfferent featue dbuns every week. Wth you d pd, June. Cevin Key lees some of you LOOK I IT'S BONUS GIFT TIME AGAIN, HOWARDI 3:00- 5:00 PM Tofu chili dogs dnt so bad Mustard, extra onions. No relish. Thank you very much. Rowena hosts THE CJTR DINNER REPORT 5:00-5:30PM All the latest on campus: news, sports, an kvdepth Interview, theatre or flm review, edtortd commentary and more. Weekdays with host lan -UNAUTHENTIC AMATEURBM 5:3O-6:0OPM Fo- cu*ig on locd. campus and amateu Varts. Upcoming gomes to be covered IveonOTR: 2nd, 1:00PM CITR presents the UBC Varsity foolbdlganeagckistdefendngVcnier CupChampionU. of Saskatchewan Huskies. lAeiy a key gome for the Bkds as they try to make the C1AU playoffs With Jeff Paterson and Chris Urea 4th, B-.MPM The UBC Men's Basketbdl juggemaught tckes on Seatle Christian U. A good chonce to see If Ccnada's best can pkry with ihe Americans. "th The T-Brd f ootbdl teanmdees the playoff* CITR wl be there to broadcast the action Time to be anrxxneed. 15th, 7:30PM Hockey. UBC against the U. of At>erta Golden Bears, who are dways the team to beat In the Canada West. With Jeff Paterson and Otis Uren 22nd, 7:30PM Baskelbal from War Memorial Gym. UBC. the consensus #1 in the Canadan pols. takes on the U. of Cdgary Dhosaut 29th,7-J0PM U. of Cdgay visits the Winter Sports Center to take on the Varsity Hockey T-Bkds 30th, 745PM The men's basketbdl team takes on ther crctHlvds. the Vikings from IMc. A bitter rtvaky that CITR Is dways proud to cover. BOXER SHORT BOYZ 7*>-9:00**M Just a couple of guys who Ike to walk aound In thek boxer shorts with thekbig fat guts hanging out. Jerome Broodwoy and Garnet Timothy Horry alternate weeks THE JAZZ SHOW 9:00PM-12:00AM Vancouver'slongest ruining prime time Jazzprogrcm. Hostedby Ihe ever-suave Gavin Wdker. Featuesatll. 4th Tonight two great pioneers of Jazz... tiurrpeter Roy Uflte Jazz' Ekfrldge and 'ihe fattier of t>e tenor saxo phone" Coierrxn HawMns: together In concert h 1957. Ihe two Jcsz g- tnts at the* peck... kupttng later generations I It) 'African Cookbook', a wonderfd dbun by pkrrst Raicry Weston end Nsdktar sextet with Ray Copelcnd (Monk's favorite trumpeteO end the great Booker tvtn (Mingus favorite tenor senkt) axtothea Agreat pro- gam of Weston compo*lor. reflecting a strong African Influence. lMh We celebrated John Coltrane's birthday on Sept. 23 with an d- Cotfrcne program but dent get past 19MI Tonight another oJ- Coltrane show from 1960 to Ns lost offidd recorotogs mode In Much 1967. The featue wl be the Feb. ^recording "The John Coltrane Quartet Ploys'. 25th Ihe great ChaKe Parker sesstons this evening. The consurxrte otto saxophonist wtth tnmpeter Miles Davis and rJummer men roach In a great reunion session. The second Is Parker and an dl- star qdntet wrfn trumpeter Red Roetiey end boss great Ray Brown and others. The bkdflyhgMgilnl951. TUESDAYS THEMORNINGSHOW 7:30-8:15AM Hosted by Antje Rauwerda and len Gun. MADONNA DEATH WATCH 8:15-11:00 AM Mornings havent been the seme since the Eriendy Giant was caujsM picrying with Rusty too meny times end Mr. Dressup ate the nose- candy. Morn- core wtth Bryce and Scooter. DOG'S BREAKFAST 11.-O0AM-1:00PM Dog's bredefast. 1. A mess: low Glasgow (- 1934) 2. Confusion: turmol: Austrdicn: since ca 1935. Tune In for inept pandemonium, hilcrlty end fairy tries - with you exquisite hostess Helen G. Yes. Ihere rslfebevondn BLOOD ON THE SADDLE 1:15-3:00PM Country music to scrape the cowshit off you boots to. \Mth yer host-poke Jeff Gray. UVE FROM VENUS 3O0-5:00l>M Women- made music ond stuff, hosted by Jane Tiley. THE REAL DEAL 6:00-7:00PM 'If it ain't rap then you know ifs crap.'-Eazy-E. Haelcore rep with you hardcore rap host Terror T. THE UNHEARD MUSIC 7:00-9.O0PM Demo Director Dde Sawyer provides some insightlnto the best end the worst ofthe newest Ccnexfen music. AVANT-PIG 9:00PM- 12:00AM Alternating Tuesdeiys with Wolf at the Door. Now three hous of funky cmbient noise piggery with Pete Lutwyche. WOLF ATTHE DOOR 9.O0PM-12:00AM Alternating Tuesdays with Avant-Plg. The latest In dance music and Interesting drama every second week. With Lupus Yonderboy. AURAL TENTACLES MIDNITE UNTHTHE MOON DROPS Fun for the whole (amly to er^oy! Weird chinks of news, odd pieces of tmeage. Pierre end the 2AM WWOD. WEDNESDAYS THEMORNINGSHOW 7:30-8:15AM Hosted by lan Gunn and Antje Rauwerda. SOULCHURCH 12:00-1:00PM We Is bock! That program that brings you the best of the African- Conadan and African- American gospel music trodtion.hosted by Dcrve Lcngjlte. 6th Cenaden Gospel, featuring highlights of the Gospel festivdin Dartmouth N.S., August 1991. 13th Gospel Roots 19)0 to 1940. 20th Gospel Roots 1940 to I960. 27th Gospel Roots 1960 to 1980. CONTENTS UNDER PRESSURE 1:15-3:00PM Sphnhg the best (and sometimes the worst) piay»st matertd, bringing a variety of mu*: styles from places youl not hea on crry other rado station... seriously. I appreciate al requests. I work best inder pressure end the gods have seen to It thot I am suppled well with sonic bhs... hence the title. NORMAN. KITCHEN 3:005:00PM Breathe. Breathe. Brecrthe, Teiee a deep breath, now push I OK, there's the heod II Keep pu*in' II With you host the Reverend Norman (Ministry of Scrvatlon Chuch, Quia Vista. CA.) NO INTERMISSION 5JO-6:0OPM Addressing Ihe dama theatre, film and arts communities With Anlje Rauwerda HANFORD NUCLEAR PIZZA PIE 6:00- 7:00PM StB suffering from the depression of mlss- Ing the entire K festtvd In Olympic. Rowena solders on. If you went, cal h and goat. JIGGLE 7:00-9:00PM Join Saten's fat-tired beJIes. Mikey aid Gavin for their weekly homage to the "Wng of dl that k punk", Bg Ring Ray. GRIND, GRIND, GRIND. If the elderly get spooked by It, wel play it. Drop by, we'd love to tak to you THURSDAYS THEMORNINGSHOW 7:30-8:15AM Hosted by Anlje Rauwerda and len Gum. A VOICE OF DISSENT 1:00-OOPM The frenzied dence of ubon primitives, drumming to topple the cement wefe of the dty cage, preening eexh other. beautifU apes. Grow plants grow, child adult seed, rhythm sneJee strike without convention, none do we need. Conformists, molded, will not wdt, as voices whisper, chents ae made, drums that beat, you mind wil shape, if you that listen desire change... Send me a tape of you poetry/sound collage/spoken word! FLEX YOUR HEAD 3:00-5:00PM —HARD JINX— -ERIC— -CORE- OUT FOR KICKS 6:00.:00PM Explore the plea sue s of plastic with your fdthful native bearers Pat. Usa, and Chris RED HOT AND BLUE 8:00- 9:00PM Roots music, rhythm end blues, rock 'n rdl. and who knows what, hosted by Edde J. LIVE FROM THUNDERBIRD RADIO HELL 9:00-11:00PM Local music from 9. Live bands from 10. Nov.Tth- Allen and the Psycho Nov. 14th - Sparkmarker Dec.Sth • Just Add Water ABSOLUTEVALUEOFNCHSE1 !:0OPM-l:OOAM 100%CanodanlndustridlsmNolsewtth fou-dlmenslonal psycho-acoustic interactivity. Practitioner: Peter Courtemenche. GIGASIASTI1 AM-COMPIiTE EXHAUSTION Late right ^oontoneous oud combustion Easy Istenlng for the tnjy weird. Live mfoes. sonic toop-d-toops. projectile poetry, microphone molestation, and Impromptu noise jams FRIDAYS THEMORNINGSHOW 7:30-8:15AM Hosted by len Gunn end Antje Rauwerda. THE INTERNATIONAL VENUS FLYTRAP NETWORK OF LOVE 11:00AM-1:00PM Donl tvne In 'cause youl hate It anyway, wel...maybe not. Bye. THE NOBSHOW2:30-3J0,4«)-5a)PM What month _ IP Noirvembee. Adam Noizi Sloan brings the nob. NARDWUAR THE HUMAN SERVIETTE PRESENTS... 3:30-4:00PM YOU the Istener have the ultimate contrd. YOU can tun off the rado. YOU cen mdee you opinions heard, but YOU must redize Nardwuar and the Grand Duchess of Cat Crime. Cleopatra Von Rufflestein ae onry you friends THE OTR DINNER REPORT 5fl0-5:30PM With The Voice of Reason,' ou weekly look bock at the week In the news, tongues (irmly in cheek. THE THUDERBIRD PREVIEW 5:30-6:00PM The Sports Deportment's preview of wham be goin down this wekend, so tuie in! THE DARYL AND SUZI SHOW 6ft)-9:00PM Underground sound system-style mastermix rado. FOR THE RECORD 630-6:45PM Excerpts from Dave Emory's Rodo Free America Series HOMEBASS 9:00PM-12:30AM Dopejams and fresh beats for a groovy evening withDJ Noah on the wheels of steeL UmpSynk 12:30AM-Momlng Aphkfeather duster, a tiny pirk loce pdr of panties, and a minute pink dustpen. SATURDAYS THE SATURDAY EDGE 8:00AM- 12:00PM Vencouver's biggest end best acous- tlc/roots/rogue rodo show. Now h Its 6th yea on CiTR! Roots music from orotnd the world. POWERCHORD 12:15-3:00PM Vancouver's onry true metd tfiow; toed demo tapes. Imports and other rarities. Gerald Rattlehead and Metd Ron eto the damage. IN EFFECT 3:00-5:00PM The Hip Hop Beat and nuttin'butt. With hosts BZ Jem and NeilS. THE SATURDAY MAGAZNE 5:00-5:30PM UBC's weekend news. Al the latest news, spexts. weeither. a movie review, feature report and more. News wtth Luc Dinsdde; Doug Richards has sports. THE AFRICAN SHOW 8:00-10:00PM It's a music thing from dl'Africa' Ifsenawae- ness thing of self end others Ifs an Africcn house party. Stories, music, dance fua Welcome! You host Umeren. GROOVE JUMPING 10:00PM- 1:00AM There ae those who ae never heppy with the status quo. Those who must have the new. those who define themselves by what others ae not...ih. this Is more to the point. Out ol beer, out of tuie, end out of contrd...music to peel paint by. Hosted by Terry Hdbnd WHOM & HOW ARTS JEROME PRINGLE BOARD CHAIR SOMA FRASER CURRENT AFFAIRS ANTJE RAUWERDA DEMOS/CASSETTES DALE SAWYER ENGINEER RICHARD ANDERSON ENTERTAINMENT LUC DINSDALE MOBILE SOUND DARREN REITER MUSIC ROBYNN IWATA NEWS IAN GUNN NEWS FEATURES TRACY DOLAN PRESIDENT DARREN REITER PRODUCTION JOELFRANSEN PROGRAMMING ADAM SLOAN PROMOTIONS MIHKELRANNBTE SECRETARY HELEN GODOLPHIN SPORTS CHRIS UREN STATION MANAGER UNDA SCHOLTEN VICE PRESIDENT MINDY ABRAMOVITZ VOLUNTEER COORDINATOR JOHN RUSKIN BUSINESS LINE 604/822JOI 7 DJ LINE 604/822-2487 (UBC-CiTR) NEWS UNE 604/222-2487 (222-CiTR) FAX UNE 604/822-6093 ENVOY ID CITR.FM STAND IN UNE ROOM 233, EAST SIDE, SECOND FLOOR Of THE STUDENT UNION BUILDING. 6138 SUB BOULEVARD. UNIVERSITY OF BRITISH COLUMBIA, VANCOUVER. BC. CANADA V6TIZ1. Note the new postd code!!!!!! ACCESS CITR provides free airtime for Community Access by groups and individuals wishing to share some thexights with our listeners. If you or your group would like to say something to someone somewhere, please call the Program Director at 822-3017. 1 Rll ARE YOU SERIOUS MUSIC Ks SHOW KNEW KM A8G0SH0W SIM. MAURYS NIGHT 0FF/M.C. GEETANJAU ONE STEP KY0ND/RA0IO REE AMERICA iNTHE GBP Of KIKI k'ii«l»iU*Vi^_«i:ii_ia^l BREAKFAST npATH DIGITAL MAX GUMBY WITH THE ^ifi{J ALARM THRUST RADIO BROWNS WAIIH CHRONO BRINGTHE HAAA!! STUPID i|_| RFfc NOISE VENUS RADIO fast cat sovkm FLYTRAP mmmzn^»nu:mw--mam*:m!K»M.~j*?m*:ma-ji»M:m*m MEKANIKAL BLOOD ON CONTENTS |\ I € C CIJ T FYFWATFP C-JEKTNO-E THE SADDLE UNDK igSUBE |/|j)[fl| LILV'nlLI' bonus JJVt FROM NORMAN'S «« ™ time VENUS KITCHEN head NO1ZTW0 »ll^li?l4ra_ir«a_f*i-«sr*& NO MBM6SI0H VUtCWr-fCCI* SPORTS !!! _ hnpp mm DARyl __.!§ AN*) " SSS gg HOME BILL MULLAN ????? REAL DEAL BOXER SHORT BOYZ J£l WOLF show /rib SS M DANCE nVIVnh HALL REGGAE OPEN COUNTRY JOY/ OPEN SEASON ABSOLUTE BASS VALUE Of... GIGA MOO BLAST! ZICK fctti THE EDGE POWER CHORD INEFFEO mmfax HEALIN' HOUR AFRICAN SHOW GROOVE SOME IHING NOVEMBER 37 Manwcman: A 3€ Year Retrospective *^iV Art dlrwaor: rvin Th« C«l Photo: Brim Cl.rtcsonl For ManWoman 111 He is nof associate) n- Swastika 1 wilh Nazis symbolize , Whiles upremists or Skii inciple. \J& Listen to ManWoman for only a little while and you realize that he is quite serious about his beliefs...and quite sincere...Meet him and you can't help but be touchedbyhisjoy.lt literally reaches out to you.CCatherine Car- son,1974) ManWoman was bom Pat Kemball in 1938 in Cranbrook.B.C. and was raised a Catholic.He returned to his hometown in 1975 and works out of a studio behind Kemball 's Fine Diamonds .his family's jewellery store .to this day. A brush with death and a number of out of body experiences led to a desire to dedicate his life to a more important pursuit, which, in his mind, meant the choice of Art as a career ManWoman's impressive body of work can be approached, and appreciated, on many levels. It is difficult to categorize stylistically, and to analyze it only on that level would be to miss the true significance of this artist's effort and his contribution. Richer rewards are to be gained .rather, by starting from the point of view of the personal context of the artist himself—the mysterious source of so much energetic production—the inner impetus for these outer cultural artifacts. For someone with no prior knowledge of the work and life of ManWoman, viewing his art production of the past 30 years must be akin to crossing a border into an exotic, unknown territory. The traveller would then begin to discover a highly developed system of customs and rituals and a sophisticated language in operation which hint at the rich and imaginative source. The starting point for such an investigation would also be readily perceived—the common emotional groud of passion, energy, and joy. ^^^^^^ | Holy B An extensive exhibition of works from the past thirty years tracing the career of one of Canada's most prolific and controversial contemporary artists will start with an opening reception FRIDAY NOVEMBER 29. at 8:00. MANWOMAN: "DIVINE MADMAN:A 30 YEAR RETROSPECTIVE" at SMASH GALLERY of MODERN ART 160 CORDOVA ST. WEST 662-7200 photos cortesy of Smash Gallery text taken from'The Iconography of Man- Woman" An Essay by Sandra Tivy 38 NOVEMBER special gnat SYD STRAW THURSDAY NOVEMBER 7 LID AY NOVEMBER 8 Tickets available at ______^^_______v , Zulu, Black Swan, Track and Highlife Records. ODORE BALLROOM 7 Z Monday to Wednesday 10:30-7:00 111 Thursday and Friday 10:30-9:00 1 Saturday 10:30-6:30 0 Sunday 12:00-6:00 1869 W4th Avenue. Vancouver. BC 604-738-3232 IVlSmS ARE COMING! The rumours are true! These legendary native sons of Manchester will be in town for their first ever Vancouver performance November 26th at the Commodore Ballroom. Pick up your tickets early at Zulu. In Person at ZULU! This long-overdue event will be preceded by the only thing that could possibly be better—an opportunity to meet the Buzzcocks at ZULU! Markyourcalendar and be at Zulu November 26 between 4:30 and 5:00pm. o Buzzcocks • operators manual A collection of 25 of their best This is the essential compilation that we've all been waiting for. From 77 to '80 in one brilliant package. Also On Sale AliveTonightEP Buzzcocks 1991 release - a four-song CD EP. : Their triumphant return to the recording studio. Import New Releases On Sale at ZULU *»Nov 1 -30 16.98cd/10.98cass LFO ® Frequencies LFO stands for Low Frequency Oscillation which, as the warning sticker on the cover indicates, means "Beware of Bass!" This release joins KLF. The Orb, and Gary Clail as one ofthe top club raves of 91. Import U.98cd/9.98cass Dylans • S/7 UK indie ctiartbusters release their first album after a series of critically acclaimed EPS. Import Sister Double Happiness • HeartandMind The ir first major label release after a stettar SST record debut Import Swervedriver • Raise Yet another exciting UK debut with elements of Dinosaur Jr. Husker Du, and My Bloody Vatenttne. A permanent fixture in our CD deck, hence. aZutu recommendation! 12.98cd/8.98cass NoMeansNo ® 0+2=1 Following the recent re-issue of "Sex Mad" and the release of their "Live and Cuddly" album. No Means No add to their 1991 catalogue with an ALL NEW STUDIO ALBUM! Available in early November. H.98cd/9.98cass Primal Scream • Screamadelica A "1D out of 10 "from England's New Musical Express and a "greenlight" from Spin Magazine. Includes the EP hits "Loaded "."Come Together" and "HigfterThan the Sun". TheShamen ® En-Tact Big in the clubs in the UK. and now here, their most recentfutl-length release. Features "Move any Mountain". Jonathan Richman • Having a Party With... Mega party animal—righteous release from Beantown s favorite son. Party on J.R.! 11.98cd/8.98cass Dinosaur Jr. • Whatever's Coot With Me An 8-song release, featuring their latest single and. lo and behold. 2 tracks recorded in Vancouver earlier this year. Snap it up! Import U.98cd/9.98cass My Bloody Valentine • S/T My Bloody Valentine's emphasis on ambient guitar stylings and ethereal vocals laid the foundation for bands such as Chapterhouse. Ride. Slowdive and many other recent UK acts. Based on their previous album and EPs. this could be one ofthe best records ofthe year. Available in early November.
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Discorder CITR-FM (Radio station : Vancouver, B.C.) 1991-11-01
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Title | Discorder |
Creator |
CITR-FM (Radio station : Vancouver, B.C.) |
Publisher | Vancouver : Student Radio Society of the University of British Columbia |
Date Issued | 1991-11-01 |
Extent | 40 pages |
Subject |
Rock music--Periodicals |
Genre |
Periodicals |
Type |
Text |
FileFormat | application/pdf |
Language | English |
Identifier | ML3533.8 D472 ML3533_8_D472_1991_11 |
Collection |
Discorder |
Source | Original Format: Student Radio Society of University of British Columbia |
Date Available | 2015-03-11 |
Provider | Vancouver : University of British Columbia Library |
Rights | Images provided for research and reference use only. Permission to publish, copy, or otherwise use these recordings must be obtained from CiTR-FM: http://www.citr.ca |
CatalogueRecord | http://resolve.library.ubc.ca/cgi-bin/catsearch?bid=1190017 |
AIPUUID | f82bf7bf-3cfd-4426-ade2-f1507e185d7c |
DOI | 10.14288/1.0050281 |
AggregatedSourceRepository | CONTENTdm |
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