SEPTEMBER 1991 /■*> "...she appeared in a skimpy black skirt brandishing a whip. She toned down her dress later to try to escape the lunatic ^e#" The Province. 1991. c o V E R STARTS A U G U s T 1991 d IF YOU MISSED TOE CHANCE TO ENJOY ^ FREE COVER, CALL US FOR A FREE PASS. DON'T MISS OUT THIS TIME LA ORIGINAL IDEAS HAPPEN AT 315 BROADWAY to be continued. HOTTEST TOP 40 DANCE CLUB at KINGSWAY THROW A PARTY, FUNDRAISER, OR CORPORATE PARTY, ITSFREE CALL US. 876 v70©3, OPEN s 8 PM TO 2 AM - TUE. to SAT. SUNDAYS to MIDNIGHT DiSfcOBPEK AUGUST 1991 - ISSUE #104... IRREGULARS WOMEN OF THE FOLK FEST COWSHEAD CHRONICLES byGTH MX FATHER \MJ 1 1 SID IO XIXKE CHOI OLATF SUCK FRI >M SCR VI 111 I sim; COCOA. 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XNDXXHII.F XXFKF XT II Ills I XI.K 1 XI IOOS. I KNOW XFEXXOI IIIOSF lOO.PIERl ED I XkS. NOSIS. NIPPLES. HEY 1 IIXD X WOMAN XI HI DSiOIK XII OW XII IO loll HIIFRHI'I. LY HI HON RING. PRETTY COOL. SOW II XTS XNX OE THIS HXXF lODOWITHMX EXIHER? WELL. MY EXIHER ONI.X II XS THREE FINGERS ON HIS RIGHT HAND WHICH MXKF.S FOR X STRXNGF IIANDSIIXKE. III. XI.SOSFWFD MY INDEX FINGER It.XCKTOGI 1III.K XI II K X LOCAL Doi'lDK IIXD FRIED I N- Sl ( CISSFT LEY 1XX ICE BEFORE IIIXI IO DO SO. YIP. SI XI Kl D III XT HXIIY XI XIOST COM- PLETELY OFF XI IHE FIRST KNI CKI.E WHEN X HI DDY OE mini; xi im iimi: si xmxifd II INTHFDOOROF A IRK KXXF XX EKE PLAYING IN. X Lol 1 X BLOOD. I'VE ALSO GOT X GOOD SlXk ON IIIF klGIII SIDE OF XIY NOSE IIIXI EM PRETTY PROl.D OF THAT 1 OBI XINED Will N 1 RFXKFNDFD A FORI) I.TDINMX XIOIIIIKS IOXOI X. SOWIIXI DOI Slllls XII XIFXN. NOTHING EXCEPT IT! XT VOL SHOII.D IRY XND I SF IIIXI G1XIPXOI XEGOI IOXOI K AD- X XNI AGI■:. HELL LOOK XI DON Bl 1 1. HE'S RIDDLED WIFH FM XND HIS OKXY NI) X1XTTER WIIXI XNYKODYSVYS. DOING DRUGS IN PUBLIC The How To (or not how to) 10 HELP!!! Back Alley Fiction 11 MIND EXPANSION FOR THE WHY BOTHER GENERATION Truly Heady Stuff 12 KING MISSILE Homing Into You 13 GUMBALL FISHBONE Hardcore Fillet 15 GO TO THE BIG APPLE AND TAKE A BIT F The Adventures of Rowena and Ricardo 17 SANTA CLAUS KILLED THE SHOEMAKER Helen BecomesOneOf The Walking Wounded 18 REGULARS AIRHEAD 5 REAL LIVE ACTION 30 MINIS 6 UNDER REVIEW 32 VANCOUVER SPECIAL 26 FUTURE RAP 33 FELICITY 27 DATEBOOK 35 SHINDIG 27 ON THE DIAL 36 SUBTEXT 28 CHARTS 29 COMICS DUMMYHEDS, FOUND IN SUPPOSEDLY EMPTY EQUIPMENT ATSEATTLE, WASHINGTON 5 THETROLLS byGaryWildeman 38 COVER OFFICE USE ONLY EDITORS Johanna Block, Chris "the Merry Prankster" Buchanan ART DIRECTOR Deborah Bolingbroke-Price PRODUCTION MANAGER Lydia Schymansky EDITORIAL PRODUCTION ASSISTANTS Mindy Abramowitz. Deb. Judith Beeman. Leslie Elliott. Helen Godolphin. Mike McClean. Tom Milne. CAPITALIZATION CONSULTANT Bill Baker GRAPHICS Johanna. Deb. Rod McFarland. Larry MacDougall. Janis Warren. Gary Wilderman PROGRAM GUIDE Adam Sloan SPINLIST Robynn Iwata ADVERTISING Anthony Hempell LOCAL DISTRIBUTION Matt Steffich SUBSCRIPTIONS'MAIL DISTRIBUTION Lydia Schymansky DATEBOOK 'DELIVERY FRIEND Randy Iwata TECHNICAL SUPPORT Ted n' Sue PUBLISHER 'ACCOUN TS Linda Scholten SWEAT Discorder Copyright • 1991 by The Student Radio Society of the University of British Columbia. All rights reserved. Discorder is that magazine from CiTR 101.9 fM. and is printed monthly in Canada on including the CiTR On The Dial program guide and tho CiTR SpinList 230 locations. 12 month subscriptions are S15 in Canada. S15 (US) to the states, and $24 elsewhere. Please make cheques or money orders payable to Discorder Magazine. 'The Revolution will not be Televised"- Gil Scott Heron. Deadline for ads and submissions is the 15th of the CiTR 101.9 fM is 1800 watts ot neurotic bliss from UBC to Langley. Squamish. and points beyond. We're also on all major cable systems in the Lower Mainland except Shaw in White Rock. Office hours for CiTR. Mobile Sound, and Discorder are Monday-Friday. 10 4. Call CiTR DJ line « 822-CITR. our offices _ 822-3017. our news + sports ® 222-2487, Boulevard. Vancouver. BC. CANADA V6T 1Z1 PRINTED IN CANADA fca^fc: BLAH...RENT,' mmxak BLAH...TUITDN, BOOKS, BLAH... ,. Ax*^A_f____a_^__r>' STUDENTS IN FOR FREE WITH I.D. 5 "LIVE BANDS!" SUN.-TUES ONLY! CALL 874-BAND FEARtLOATHING ALTERNATIVE BZZR BASH $1.25 BAHLEOFTHE DOUBLE LONG ISLAND NIGHT LAMES IN FOR FREE BEFORE 10PM ALTERNATIVE IVIIX HIGHBALLS $1 $1.25 CAGED GO GO DANCERS SHOOTER SHOCK EVERY HOUR #7 ALEXANDER STREET GASTOWN 682-8550 fon. m Afly7H'fJ&/: KOMET Records Presents. M fl j'/ PI i, Girl Gangs... |V _\ f / [ r*1 T^J -_f _j ___ , ■ # !rf''.aIi<PiC/'__j/J_/Jf Crime-crazy lying living only for thrills! ifMSL-v* A KOMET INTERNATIONAL RELEASE Starring Ex Big Members of New York's Original SISSY BOYS... THE OUTRAGEOUS VALENTirvoS' the Legendary Z. BRAINEATERS __ KISS KISS & BANG opened* fa TOUCH £111(1 GOS Friday Sept. 27 at the Town Pump <Yo 6138 SUB Blvd. Vancouver, B.C. V6T 2A5 •-.iir-i_is.y-.Ti CREATIVE WARNING NO.l -Hey Ginger you suck! You're a non-moviestari -Gilligan you jerk! What would you know about real talent anyway? -Well, well, well, I knowthat Mary-Anne can sure bite the big one better than you could you old fish... -Mary...that SLUT! -Ohyeah?Well she's realtalented AND Mr. Howell thinks so too and when we get rescued he's going to make her a big star in his new super-duper 'High Road to Castaway Island' production! -Aaagh! We'll just see about that you little shit! I'm going to write a letter to Discorder and drag all your names through the mud 'cause I'm the moviestar here not you two-bit twerps. -Go ahead Ginger let 'em print it. What do they care? All It'll do is show everybody what a vendictive, small-minded, greedy person you are... -I don't care! -Oh yeah? Professor says that 93% of mail that media publications such as Discorderget is stuff that people want printed so they can slag their enemies. Pretty soon no one will take Airhead or you, (same thing!) seriously! -Well, there is my reputation... -If you're gonna write Discorder a letter, make it constructive so we can get off this fuckin' island! Actually, Elspeth, as you may remember, the handmembers stated that the next step for them would be to adopt differnt personal names. Thus, we'd like to think we merely helped them, and in particular — "Doug," along in their endeavours. DOUBLE GLAZING IS NICE BUT IN BRAZIL TKEY HAVE SPACE Rio de Janeiro 26-06-91 Dear friend of DISCORDER: I want know your FANZINE, how I do for it?... This is my international Fanzine: "HALLUCINATION". Send your opinion, colaburation...etc...ANSWER PLEASEI...THANKYOU! Alberto My adress is: CX.Postal 95042 STA.Cruz Da Serra, Duque De Caxias, CEP25241 RJ - Brasil IRONIC BUTTERFLY Dear Discorder It seems to have become rather common for people talking about or reviewing hardcore bands to describe them as generic. Now to suggest that every group of people who decide to play hardcore are going to be completely original is ludicrous and therefore some generic bands would be expected. However, a large number of the people who most loudly disclaim hardcore seem to be former fans who have now latched on to some other style of music. These people will trumpet any band which plays this new and improved flavour of music while slagging off all new hardcore bands as generic, not like in the good old days when they listened to hardcore. The ironic thing is that these poele make up the large masses of unimaginative trend followers who made hardcore generic A READER GETS TART AND TINGLY Dear One-Tenth of Kreviss: Re: Your letter, August Discorder. I don't understand why you think lhat Bruno's review of your band in the July Discorder was so inept. If you did not want your band's "musical performance" to be rated by your three-tenths (does it count as four-tenths if one of you sleeps two members of stupid conductor?) sexual activities why name the band Kreviss? Or was the name "just a joke" that Bruno was too dimwitted to understand? Perhaps the joke is on you, my dear. If Kreviss leam how to change chords without staring blankly at their fingers most of the time maybe their sexual activities will not be as interesting as their musical proficiency. But as Kreviss has displayed little of the latter I guess they are doomed to those nasty spiteful re- Also, who cares if you know who Bruno is? If you are so upset why not save a tree and whine, or screech, at him in. person? I know you won't really shove a vibrator up his ass because you don't dig butt pom that's Octatraktor's scene. Or maybe you should just spend more time practising and we will all forget about those sexual nintendos. Love and Kisses, Relic KNIT ONE PEARL TWO...WHATS IN A NAME? DcarEd(s): Re: July article on G.L.M. Not to knit pick — B UT—There is no 'Doug' in God's Little Monkeys. Nor has there ever been a 'Doug' in the band. First crack at the whip and you've already fucked up. Shame on you and shame on Mr. De La Good luck on future issues. Sincerely cynical from Elspeth Haughton in the first place. Now these leeches wull suck the life out of their latest obsession burying the people with interesting ideas in a shallow grave of fashion and pretense. As far as hardcore goes I can only say good riddance but as someone who appreciates a lot of other different musical styles, it seems too bad that these people couldn't be slightly more openminded instead of opting for the flavour of the month. Oh well, people are pathetic why should I Il is not good enough to describe a band as generic hardcore without comparing them to at least one other band otherwisde how generic can they be? Someone who can be no more specific than "generic hardcore" when describing a band is obviously too ignorant to know if they are are or not should shut the fuck up. If you are one of these people who need to point out that hardcore has a tendency to be generic (unlike any other form of music of revelation, don' bother because nobody's interested. Kevin Connor P.S. To those to who it applies I would like to extend my personal thanks to you for deciding to suck your identity from some other scene because hardcore can only get better without you. PAINTING THE ROSES VIOLET To Whom It May Concern, ©Sflfip&twMatfQ. r~- GAP IN E/MJIY WATCH IyovRstep I 0" I would like to express my disapproval ofthe slagging comment on page 26 of your magazine [Ed.—of the August issue]. Unfortunately, I was considering advertising with you but seeing you feel the way you do about my ads, you've just lost a lot of money. In one paragraph one of your employees severely cut down my store, my ads, and my staff ("KK and the Sunshine Bang"?). My ads do a fuck of a lot more for the local music scene by featuring it in a positive light as opposed to your miserable, pessimistic re- The comments by our employee (read volunteer columinist), "go back to Glamland where you came from and, for fucks sake, take Violet Addiction with you (nice ad guys)....ImissedKX. and the Sunshine Bang for obvious reasons," opiniated, as they are suppose lo be. We feel Discorder is supportive of the local music scene, which does not mean being uncritical. Therefore, we let the opinions and thoughts of our writers remain untouched by our hands, the hands of the artists, and ouradvertisers. Fortunately, Discorder is in a position where its advertisers, or supposedly potential advertisers, are not ina position lo dictate the content of Discorder, unlike many other publications. fR-XMrOJM OWLD ALWAYS DEAL WiTH V^IL,g/MNAiDSr4ouy ft/T-fiE. HADtf'T 0**u>JT£D ON ©ATAMTSciQ^AUSM. Dear Discorder: REVOLUTION BEGINS IN YOUR HEART, IN YOUR RE-I FUSAL TO COMPROMISE! YOUR OWN BELIEFS. Once again a reader has w ten to Airhead and made state-" ments to the effect that the Gothic/death/industrial music scene is dead and there is a sudden upsurging of beings going about clad in black pretending, thatit's 1983 all over The "Black" scene is just a small micro-organism of what makes up the Alternative scene,(a subculture within a larger subculture). Gladly, they share the ranks with skaters, thrashers, punks, ska, reggae, the new hippy movement, skinheads, any sort of post-punk society that emerged during the eighties (and that "conventional society" disapproved of). In the seventies the Sex Pistols/ Clash/David Bowie eta made bold socially conscientious and outrageous statements through music, fashion, art, etc. A few issues back in the Discorder survey, the question was asked, "Whal punk is? Alifestyle.amusical style, or a fashion statement". One answer...it's a musical style that created a lifestyle and a fashion statement. To read a letterfrom someone who said CKf\ ~ 5 IN J LRE-|/ _iseB they were a part of the "Scene" in its formative years and believed it had absolutely no meaning other than to see who had the coolest shoes is very offensive and I have a strong feeling he or she is a poser or a trendoid who is shaking his or her bootie to the pseudo-disco of the moment waiting for the next happening thing to come along. Is the "Scene" gone just because Bauhaus is? While Bauhaus might not exist in lhat particular entity, it's former members have done numerous recordings in spinoff groups etc. The artists have evolved past 1987, so why can't the people they influence. I certainly am not living for the early years but when I put on any of my albums from that era I still hear the emotions that are caught up in it. To say "Goths" have no purpose is untrue. Gothic/industrial/death rock is still consciously shocking, still confronting people to examine themselves and their purpose in life. Let me ask you this: what is the purpose of one who frequents The Roxy, or Richard on Richards? I'd liketoknow the answerto that question. It is unfortunate that there also many misconceptions about what the alternative scene is, but this is caused by narrow-mindedness and people unwilling to expand their safe and secure worlds. Or, of course, there's always the trendies whohavenosense of commitment and flit from one thing to another for the sake of looking cool,(as compared to being cool). The so-called "Goth" resurgence (Oh my God, they're bade) is really a non-event. They were always there. Perhaps just waiting for someone to realize it, start playing the music again and make it once more a visible part of the "Scene." Even if it is 1991, the sentiments and emotions of the past don't disappear. They only evolve and move forward and that's why almost ten years later I still wear black, still listen to music that's considered to be on the cutting edge and still believe in something that is very difficult to define. Society does not accept that which is different from itself, and therefor, that which is different must struggle for acceptance for what it is without compromising for the sake of others. Zanna Severin For reasons of brevity we haved ediledZanna Severin's letter: Normally all A irhead letters are print- S_^£S_3© IJyijraJv Pi i kVi 1 i __. 1 n_-^ HENRY KAISER BY PETE LUTWYCHE Henry Kaiser, guitarist extraordinaire, veteran of over 75 albums (How about that, Billy Childish?), was at the folk festival with his new east-meets- west acoustic group. Discorder spoke to him there. Discorder: How didyou come to put this band together? Henry: We're just doing this 'cos we enjoy playing together. People keep calling us and asking us to play, we don't pursue—if people call us, we'll come play. Discorder: You're very busy. Do you get much time to practice guitar? Henry: No, I never practice. I never play unless I'm on stage or recording. Discorder: That's not going to make people who admire your playing feel any better. Henry: Well, the guitar is a very easy instrument. I think it's all attitude. I worry about music education in North America. I think the reason that I can do some things on the guitar that may impress some segment of the audience is really to do with attitude more than any kind of practicing. I think music education is designed really backwards, to keep people from expressing themselves. I think accidentally coming to music inspired by _^ the great British and European g free improvisers, coming from _| thatphilosophicalpointofview _j I started off thinking every- | body should be really creative 2. and expressive. Classical mu- w sic education is just crippling a person's creativity. It's just horrible. Discorder: I guess with classi - cal training, you 're not taught to make music, but be a technician, translating other people's ideas as perfectly as possible. Henry: And you 're taught to do it in a way that destroys your mind. It's all designed to support the exploitative system of composer and performer, which is a false distinction that's developed in classical music— something that doesn't really exist in true folk traditions. Classical music represents less than 1% of the music on the planet, and to teach this way is just stupid, it results in very little music being made. Discorder: When did you develop your eclectic music tastes? Henry: In high school, 'cos I listened to non-commercial radio stations, listener-supported radio. Free-form radio we had in the '60's in California, who wouldplay Ah Akbar Khan right next to Cecil Taylor right next to Bob Wills rightnextto The Rolling Stones right next to aBartok String Quartet, and say "Here's a bunch of music". That's where my aesthetic probably came from. Discorder: What about the popular music culture in America right now? Henry: Well popular music culture right now doesn't really have anything to do with music, it's just marketing, product commercial! ty and advertising. Music is gone from mainstream culture now. Discorder: Can anything be done about this? Henry: Probably not. Things change over time, slowly, over generations. Discorder: But a festival like this must give you hope. Henry: This is a great festival 'cos of the range of artists from different cultures and different musical traditions. The organizers have really gone out and found people. I'm so excited to see Jean Emilien from Madagascar here, agiantheroof mine who has never been to North America. But festivals like this don't happen in the States. -*$ , m kfS_. M, _; MECCA NORMAL INTERVIEW BY JANE TILLEY Described as anarcho-punks and performance artists, Mecca Nor- mal's Jean Smith and David Lester have gone from a garage on the East side, to tours with other anti-authoritarians and femininists— poets and musicians— and have released a bunch of records, the latest being Water cuts my hands. The duo combine Jean's naked, cutting vocals and David's distorted, crashing guitar sounds in a minimalist form of music that kinda gets under your skin. Discorder: How have you changed musically since the beginnings? Jean: Well, we're still a duo: me doing the vocals and Dave on guitar. I think we've just become really determined to stick at that format. I think more people are hearing us and accepting that we are going to keep doing this. Discorder: It's quite an unusual combination. You don't have plans to expand— get a rhythm section or something? Jean: No. It is unusual and that seems to work well for us to present something a little bit different. I play a bit of guitar now, so that fills things out a bit. Discorder: How do audiences react to you? Jean: Some people really like us either because they feel some kind of empathy for the ideas behind the songs or for the fact that v woman alone on stage, not as boyfriend and girlfriend, but working together, I feel that alone is a political statement. And then there are the people who like that goddamn sound. Discorder: You have a very unusual vocal style and sound: do you treat your voice in any way? It comes out as very raw. Jean:li just comes out that way. There'snotusually anyreverb.I like it pretty dry. Discorder: Do you have an ideal place to play? Jean: I like playing greasy nightclubs, myself. We've done a lot of galleries, community based cooperative spaces, poetry readings, those types of things. I still prefer going on in the middle of a bill that's got a bunch of loud bands on either side. I like that kind of music— the real hard rock aggressive stuff. I also feel that that's why we do this, to present something as a contrast, as a potential to something different That's still very rigid that you go out to a club and it's mainly a lot of loud guys with guitars and drums. Discorder: You stress the importance of individuality in your music. Do you find it hard to preserve that individuality within the record industry? Jean: If somebody is willing to putourrecords out, there's something about us intrinsically that they appreciate, so we're not really in the same battle ground a some bands who are trying to surface above a lot of similar sounds. We also put out a lot of records ourselves and through friends and smaller lables who appreciate the ideas. So it is very much a personally based thing, we 're involved in the whole process. Discorder: Obviously you're highly politicized, you talk about alotof issues, particularly things that affect women: do you feel that you can actually "offer a solution"? Jean: WeU, in my life, doing this has empowered me. I'm always amazed that to say cunt for instance is completely outrageous and really offends people. Like come on! I don't say anything outrageous. I'm a woman, I'm loud, I'm aggressive and I'm saying things that have happened to me: how men have affected me and how I feel that there's an imbalance of power. Sometimes it's angry, sometimes it's analytical. Sometimes people see it as being very brash and that to me is an indicator that we still have a long way to go. The "solution" would be less power in the hands of governments and white males and more women speaking out, more people speaking out in that way. Discorder: In one of your earlier songs "I walk alone", you talk about having the right to go out alone. Are you involved with the "take back the night" thing, or is this a personal statement? Jean: Well, there was a song by Go Four 3, where the woman was saying "Don't walk alone". I thought "come on", I walk alone, it's my right, so it's sort of my response to that and also that sentiment that a very basic thing has changed. My mum is really appalled at that transition just within her lifetime, thatyou can't just go out and walk around and feel safe. Everything is closely watched— who's up ahead of you, who's behind you, what route should you take. Hopefully it expresses that sentiment and reinforces that point that it is my right to walk alone. Discorder: Do you have any particular influences as a vocalist or as a lyricist? Jean: As far as writing goes, I like to read things that are very evocative of emotions not so much of a story or a literal image, but more of a overall feel. Things are going more in that direction rather than a very dogmatic "this is how it is or this is how it should be". As far as the singing style, I guess when I started singing, I was listening to people like Poly Styrene, Leslie Woods of the Au pairs and the Raincoats and that was where I felt most comfortable to start with those ideas. Discorder: Tell me about "Bright like Ice". Jean: That's a group that Dave and I are in. Dave plays bass, I sing and play guitar and a couple of friends—Cyndi, who's afilm producer and Argon S teele who' s a lobbyist for the Autobahn Society in Olympia. We all got together and recorded this thing on a four-track, just in one day— Cyndi playing drums, Argon playing guitar and we thought it would be fun to put out. I think it's got a lot of spirit to it— four friends messing around. Discorder: Any plans to do any more? Jean: Yeah, it's just hard to get us all together at the same time and place and nobody's got the right equipment— Cyndi doesn' t have drums, and Dave doesn't have a bass. We'll do it again; we play with other people now and again so maybe there will be other projects that happen. Discorder: So where do you see yourselves heading? Jean: I'm happy to do more tours. We've got another tour in October back east to promote "Water cuts my hands", then we go over to Europe, probably in the spring to do some shows over there. It's all going really well: a lot more has happened than I ever imagined when we started doing this. ^^mm&^m^'A t*\*> LUNACHICKS BY GREG GARLICK *• a '/'■'_•_**__•: The Lunachicks are five females | thathail from New York's Low-1 er East side who got together to' play a wild brand ofj Rawk'n'Roll. Oneevening afew' years back the Lunachicks were spotted performing at a club by I the grunge lords Kim Gordon and Thurston Moore from Sonic ' Youth. With their help, the Lunachicks were off and running with a deal on Blast First also Sonic Youth's label at the time. Their first release was a gatefold sleeve double 7", "Sugar Luv" which was named the Single of the Week by England's prestigious New Musical Express. The release also coincided with their first apperance in the U.K. which won them rave reviews in the British Music Press. Also off of the Blast First label the Lunachicks have their first full length LP, Babysitters on Acid. Since then, the Lunachicks have parted company with Blast First and are now labelless, but they are still touring stateside with the Dictators and Spin Out. Cindy took time, on her birthday, to speak with our own Greg Garlick. Discorder: Hi, how are you doing? Cindy: Fine, I 'm hav ing a great time here in San Francisco. Discorder:Let'sgetrightdown to it. Could please tell our readers who the Lunachicks are? Cindy'."I'm Cindy, I play guitar, there's Gina, she plays guitar too, Becky, the drummer. Squid, who plays bass, and Theo, the vocalist. Discorder: And the line up has been together for how long? Cindy: Three years. We were messing around for about a year before we found a drummer but that was kinda like learning messing around and writing a couple of songs and just getting used to having a guitar on. Discorder: Tell us about Thurston Moore and Kim Gordon discovering you? Cindy: Well we were playing at a club, actually it was our third show, and we were not so good but there was something there. We weren't even good technically but they saw the potential, they got a hold of a real early tape and brought it to Blast First which was then their label. They had a lot to do with our initial success. Discorder: So that's how the first two singles came together and your LPBabysitters on Acid. Cindy: Right, and y'know for our first thing they went into the studio with us to produce it but it didn't happen. Discorder: Was the first single released domestically or over in Europe? Cindy: Every thing was released in England, nothing was released domestically. Discorder: You're no longer on Blast First though, what happened? Was it because you were on tour and they didn't help out with support? Cindy: It's because they didn't really help us out with anything ever, basically. No royalties, no nothing. Discorder: So its just been the money you've been making on the tour and stuff? Cindy: Exactly, every time we go on tour it has to pay for itself. Discorder: Have you been approached by many labels, such as SUB POP? Cindy;No, SUB POP haven't approached us yet. At this point were considering anything. We have two more albums worth of material that are really good that are just sitting there waiting to be recorded. So far we're not happy with the sound and productionof any of the records we've already made because we weren' t given enough money to really finish them. So we want to get this good material out and sounding good so we can have a record we are really proud of and for people to buy. Discorder: Maybe Kim and Thurston could help you again? ■ C/nd/.-No, I don't think they 're gonna do anything else for us. We run into them in the street every now and then but that's Discorder: Ho w's the tour going with the Dictators? Cindy:It's great, we're havin' a great time, the shows are going really well. I love the Dictators, I love getting to see them every night. All the originals except for Richie Teeter are playing, Frank from the Del- Lords is drumming for them. Discorder: What girl-bands do you like? The Cycle Sluts? Cindy: I think L7 are great and I didn't hear much of Dickless but the little bit I heard, I liked. The Cycle Sluts is a completely different story. I mean we have absolutely nothing to do with each other. Y'know people bring them up when they talk to us as though they are an all girl band which y'know they're not— they're four girl singers in an allmalerockband.They 're j metal, and we're not, and they I know more of the right people ( than we do. ( Discorder: Were you influenced by a band like Girlschool? j Cindy: Oh yeah, we're * Girlschool fans, I don't know I about influenced. We were j probably more influenced by | the Runaways than Girlschool. I The Runaways were great. I Discorder: Was that limited edition Cookie Monster single, with a fold out poster, something you really wanted to do? Cindy: No, all that, the poster and the booklet, was the idea of the record label. We would've much rather taken that nice chunk of money that was spent on a pretty package and put it into making a good sounding record. To be perfectly honest, we think there were far too many pictures of us on the record. We | don't really wanna look at ourselves that much. • • • AMY Aa^t£>Ti £Ai-br tNGUNEP Ee£lM6S> *STUFF* & .SEND •foot**; v oomi cv/tcoct-e _>/ ~] I pR/wiiJafe, /st CETCgAtl I A»4*-> lp WE UKE THEM WE'LL __£ • '.TAKE THEM* •' do you wcrni to be a AJgpf 1.. g*t y^mtst^ac^ £ ■ ■ *'Y •piSiCoJtt_ER ««*-> yn_ _,_ yoK_. 'p'Ct'Q'Q- \ wKjtitiveiLowu wmtre our "o uwomen 1 n The Vancouver Folk Festival provides an opportunity for the gathering of a wide range of musicians from all over the world, from the well-known to the damn near unheard of— and, thanks to the organisers' "policy" of equality of representation, this year there was a large number of women artists at the Festval, all doing very different things. I got to talk to three fairly diverse acts.... expose the underlife of society and the reaUty of people's lives and aims to locate the power and the plenty. Discorder: Do you think things have changed for you as a woman in the music industry now that you're more prominent? Lillian: Well, in terms of the voice of women in general, there's an incredible amount of exclusion. It's incredible that out of all the hundreds of albums that are recorded you can't turn on your radio and hear it played: there is no reason for that. Li terms of structural barriers, what the radio stations will play, what the people who fund videos will fund, what they will put on a stage... nothing has Sensible Footwear are three women who, for the past decade, have •hanged really. been trying to' 'redress the balance" between the sexes— or, at least, LILLIAN ALLEN V ^ ..*/ SENSIBLE ff\W FOOTWEAR j||7 .|fj ^*^^^%H My most surreal memory of the Folk Festival was seeing Lillian Allen on stage hosting a workshop, in a huge green raincape, beneath the pouring icy rain, giving an ass-kicking rendition of "Riddim an' Hardtimes" to an enthusiatic but soggy crowd. Jamaican bom, now living in Toronto, Lillian Allen is a poet and social critic: together with the Revolutionary Tea Party, she puts out some fine dub reggae. order: ou read a poem y uise . of the inconsistencies in the ways men and women Bennet, could you tell me about her? *^„ , , __, . LiiUan:LouiseBennetiswhatIconsider «e supposed to behave. Through songs, skits and their own one of the most significant figures of the particularly blunt humour, Alex Dallas, Alison Field and Wendy 20th century. She went ahead and burst Vousden mercilessly take the piss out of our "little foibles." Check Discorder: How do you feel about the pressed. They think they can talk and open a few doors and made a whole new jj^ -ut at ^ Vancouver Fringe Festival in September—and be race riots that took place in Halifax put people down and so on, but in terms space. She basically gave the Jamaican , f -__ __. _. . ., _ , „ ^ % *^. ... , ■ _ _ w .1 .• , .• • prepared for a few spunhome truths. Ter-enrlv? r>f mnvinj ahead and makinp some and the West Indian norm atinnsnermis- r r r of moving ahead and making some and the West Indian populations permis- meaningful change, the government isn't sion to be themselves and to express interested. They want to keep things the themselves in their cultural form. She Discorder: Sohowdid Sensible Footway they are— to have a strong labour wrote in the language of the Jamaican wear begin? pool and a group ofpeople they can treat people even though she was formally Alison: We aren't theatrically or mu- less than human and make a lot of mon- trained in England and had some big sically trained, we taught ourselves to degrees behind her name. She travelled do it by doing it. We got together around Jamaica and read her poetry— because we all answered ads in Tune she's a household name in Jamaica. Yet Out magazine in London—someone she had very little recognition: when was trying to put an act together for a they do anthologies of Jamaican writing girl's festival—so it started as a hob- or British writing she doesn't get men- by, a community project that grew, tioned, or if she does, it's like a little Discorder: Do you get much feed- unusual that you should have some kind sic industry. Yet in terms of any real aside. If you didn't have someone like back from your audiences? power or money, Black musicians are Louise Bennet you wouldn't have had Alison: No two audiences respond in ;cently? Lillian Alien: Well it's not a recent thing, I think this has been going on and on. People have always demanded a certain amount of change, serious structural change. Basically very little has happened. The positionof Black folks in Halifax is one of the worst you can imagine, in terms of the economic and the power situation and in terms of the opportunities that are open to Blackpeo- ple. But the community remains vital and vibrant and full of life, so it's not ey off of. Discorder: Have you met with much racist opposition within the music industry? Lillian: The music industry is built on racism—and sexism too. Black music is like the basis of the commercial mu- of response. People get so bottled in and so frustrated because of both the inaction of the Federal Government to even acknowledge that racism exists in inner cities and is strong in Canada and because of the other hokey little governments that basically buffer up their bu- roeaucracy and their own pockets. It was just a matter of time before some- excluded—particularly in Canada. We someone like Bob Marley, or the same way: here, for instance, the see that in the way that music is played: we know in the history of rock and roll that when White folks started playing it they were covering the hard-earned created tunes of Black folks. That tradition carries on into what we call appropriation these days, where you have White hke me, not in this century...she made it first audience were very politicised possible for people like me to emerge, and enthusiastic and the second lot Discorder: You'vehadpoetrypublished were a bit more gob-smacked by it. yourself. Discorder: Have you ever had to play Lillian: Yeah, my first book Riddim an' a working men's club or other allmale Hard Times, came out in 1982. And out audience? now, I have some poetry for young peo- Wendy: Yes, we've done our share of thing was going to spill out on to the musicians playing "World Beat" or pie and the young of heart. One of the that. We've played Miners' Welfare, streets. What's interesting about Halifax is that the police took the young Black people into custody for their own protection, instead of locking up the thugs who I'm sure initiated it and who will continue to beat up Black folks just for a game. Discorder: Do you think the government will actually take some action now H that this has come to a head? "World" music and not having a clue about the culture from which this music comes. If you look at those videos on TV they uphold the American Dream: right, bright, downright white, with the idea that there are all kinds of material things attainable if you're sexy. Discorder: You' video yourself. things I'm learning, now I [that] have a a male prison, boys' schools- daughter, is that young people are full Alex: Actually what's worse is play- human beings. We have to make our ing to an all-female audience because work and so on accessible to them, so all of those women want you to say that they have an understanding of social precisely what they want to hear, so reality, so that they can leam from an that can be much more frightening in early age and take some kind of respon- a way. done some work in sibility and in fact, realise that they have Alison: There's more of adisappoint- obligation to work towards some kind ment factor—if you have an all-male Lillian: I've made one small tape. A of positive change. audience, chances are they're expect- gj Lillian: Basically, governments in this fiveminutetape,withtheNationalFilm Discorder: How was the children's con- ing not to like it and then they might _j country don't do anything until some- Board, based on one ofmy poems called cert that you did here at the festval? find it's actually accessible and enter- is thing happens to some building or some "Unnatural Causes." Lillian: Well, there were as many adults taming. Discorder: Did it get much airplay? in the audience as children... but it went Discorder: Your humour is fairly well Lillian: It got a little bit. Basically it really well, I had fun, and I think a good below the belt at times, how did that challenges the status quo, it aims to time was had by all! come about? Did you decide that it _ property: that's the only time you see g- someaction.Thathasbeenthehistoryof ^? the States and wherever people are op- was the most direct way to get to people? Wendy: I think it's important when you're looking at the kind of issues and ideas that we look at to entertain people while you do it or people will just switch off—they'll just say "Oh God, it's just those women moaning on" which is exactly what they want to think. I think if you sort of shock them into acknowledging that these other ideas exist, you stand a chance of making an impression—we know we're not going to change people's views in half an hour, but we're presenting a view-point that isn't often aired. We want to try and even things out a bit and entertain people at the same time.. J think that making people laugh is one of the best ways of getting through. Discorder: What in particular do you want to see changed within society and do you think you can change it? Alison: We want the ideas to be aired— often people are unfamiliar with them. We enjoy being filthy, because women often aren't expected or encouraged or allowed to talk in that way about sex or about bodily functions and people do find it shocking still. We don't want any of this coyness or prissiness. And we'd hate to be bland! Discorder: You've sort of reversed the traditional roles of male comics dumping on women, was that a deliberate strategy? Alex: When we started we were much more insecure about performance, we used to say "Oh, we can't say x y z about men because it might alienate them and they mightnot like it," whereas now we go "Let's write that, they'll really hate it" or "Yeah, that'll really upset people" and we enjoy it—just because we're so much more confident as performers. Wendy: And we know that we can justify these things. Ifyou know why you 're doing something then it doesn' t matter if people don't like it or take exception to it. It's if you're uncertain of what your line is or what you're trying to say, that's when you're on unsteady ground. Discorder: You have songs about safe sex and the tradition of pumping pills into women: is women's health or rather women's medicine something which particularly bugs you? Alison: We're all very aware of women's health issues—through our own experiencegenerally. I think that"male medicine," which is what it tends to be evennow, tends to treat women's bodies and women's mental health in a very flippant way—which does make me very angry. Wendy: Despite all the publicity about safe sex, people still don't seem to take it on boards—especially the heterosexual community. It seems like the gay community has not made significant inroads into educating peo- pie. Discorder: How have you found touring with Attila the Stockbroker? Wendy: He draws a crowd that we wouldn't normally attract and vice versa. Alison: We've been described by journalists as a chalk and cheese combination. Obviously some of his audience hates what we do and some of our audience hates what he does, but mostly people are pleasantly surprised and it's sort of nice to force yourself on an audience. KATHLEEN YEARWOOD tion? Kathleen: I listen to music, but very rarely. I sit out on my porch at night and Usten to the coyotes and the crickets. I Usten aU the time. For music, there are my heroes thatllisten to for instruction, Uke Ramnad Krishnan, Kiri Te Kana- wa, singers mostly, and then music from aU over the world. I don't ever put time aside to Usten unless it's to learn something. I don't ever have music on in the I first heard of Kathleen Yearwood when someone called and requested something by her— which we didn't have.. .1 was pleased to see she was coming to the festival so I could see what it was that prompted someone to call CiTR on a wet Wednesday morning. Well, she performed first in one ofthe workshops—unaccompanied apart from her own clapping-and put her whole body into a song about a friend who died in prison. Later, she did a concert backed by her band, Cheval de Guerre, giving a hard-rocking edge to a traditional French song. Her music ranges from the traditional— with original arrangements—to her own songs of personal experience, injustice and pain, which are often downright experimental. Yearwood and Cheval de Guerre will be performing at the Commodore on September 6, a Friday. Discorder: You put a lot of emotion or bustling metropolis and unfortunately anger into your singing, it must take a most of ^ women that play leave, so I lot of guts to "bare your soul." e™**6 UP Paying with men. Kathleen Yearwood: I just decided at Dicorder: Where do you find inspira- a certain point that everybody was hiding too much. I've experienced a lot of prejudice because of where I'm coming from—I Uve in poverty, I'm a sexual assault survivor and this is the reason I think the way I do. I think it was with"Gynecologue"thatIthought"OK, lets just talk about this." It was reaUy frightening because whathappens when you come out and talk about things that no one else talks about is that there's the possibility that people wiU just reject you. When I made the first record, the guy who recorded it said "People don't want to hear this stuff." I don't think that's true, I think there's a whole bunch of people like me who wiU sit there, saying nothing, and then say "Finally someone has told it like it is." Discorder: Have you met with much opposition from audiences? Kathleen: Never, but band members sometimes flip out! They're all guys and sometimes they don't want to stand on stage with me saying those things. It doesn't look good to their friends (laughs)—they say "Hey why d'you hang out with her, she's weird!" Discorder: When did you meet up with the band (Cheval de Guerre)? Kathleen: They're all from Edmonton: they're just people who want to play with me. We've been through a lot of personnel changes and personnality crises. Discorder: You do some solo work as weU, do you prefer one more than the other? Kathleen: No. There are some songs I'dneverdo with the band. ThenI write stuff specificaUy for the band, so they can get their yaya s out. I wanted to play with women, or at least have half and half, but the closest city to where I Uve is Edmonton, which isn't exactly a background and I don't Usten to pop music. I Usten to CBC for company and it's kept my sanity at times, like when I've been reaUy isolated. So I get my fill of Canadian pop and that keeps me writing too—sort of negative encouragement! It'sso unfair, youknow, when people Usten to popmusic, whatdo they have to choose from: there's some incredibly great stuff and then there's just some pap. You have to give people a choice, a wide choice. Discorder: I found your song "Universal Incest" reaUy powerful, because the vocals are so beautiful and the subject is so harrowing, is that dehberate? Kathleen: Absolutely. We have also a traditional French song, aboutmarriage: the vocals are really sweet and high and it's done over a raunchy guitar-drum thing. So you end up somewhere in between the sweetness and a horrible tirade. It "expands your mind" trying to Usten to 2 things at once or entertain 2 thoughts at the same time. It's a good Discorder: You talk about stepping out of your class and rejecting the facade of society. What prompted that? Kathleen: I was trying to figure it out..It was because I saw inconsistencies when I was young and I'd go to people that I thought would know and they'd either tell me to shut up or they'd Ue to me. I always had friends from other classes and backgrounds: I never had anything to say to the kids in the white, middle- class neighbourhood where my parents Uved. Other people always seemed a lot more honest—they were aUowed to complain about things rather than just pretending things were alright...You know, the thing about incest victims is that they spend 24 hours a day of their energy just trying to stay aUve. It's Uke a psychic pain, like having aU your limbs cut off and Uving with that pain every day and never having anyone notice it That's something that has to come out pubUcly. Victims expect too much of themselves and then otherpeo- ple expect too much of them. You have to deal with a world of people who are not handicapped. You have to jump the chasm and go across and talk about it until there's a change and some form of support. ..The welfare people gave me 6 months disabUity—somehow I don't think I'm going to be over this in 6 months—I know it's a long time (laughs). Discorder: You also mentioned that you'd done a lot of prison visiting... Kathleen: Yeah, well my brother was in jail so I was prison family and they treated me Uke I was some kind of criminal. I figured that if they didn't respect me as a citizen then I had no respect for the citizenship and the rights it supposedly bequeaths me. I did advocacy, but it mainly consisted of telling someone'smother"remember who you are and that these prison people are your employees and if they don't giveyou an adequate answer, don't give in." So then these 60-year old women would go in there and just start kicking butt! Discorder: So do you have plans for another record? Kathleen: Yeah, we're just starting recording it—going into debt. I'm doing it at a place in Edmonton called the Works, because I like the engineer. It's hardto find menlcan work with. There's not a recording studio that I know of that's run by women. The first guy I worked with was really difficult, he wouldn't listen to me: it was like I had to have a man repeat what I said for it to be heard. It was like I was n $msmQ Nowofcoursel'mnotadvocat- ing that anyone should go out of their way to do drugs. Heavens! However, many of you will probably find yourselves in situations where (unlike the Uq- uid courage aspect of alcohol) you have unleashed the antisocial powers of chemicals into your person and are now faced with dealing with it in pubUc— be it at a Skytrain station or the PNE CoUseum. There is a fine line between acquiring an emotional scar for the next five to ten years and having one fine evening. And the difference is aU in how 'together' you appear to those around you. STEP ONE:FORTITUDE Yes, in today's fast paced lifestyle it is hard to teU where you're going to be two hours ahead of the present Drugs, like clothing and money, must suit theoccasionboth in amount and style. You don't want to be in a place of high congestion when your prone to vomiting and you also don't want to find yourself alone in a dark place when your suffering from a paranoid delusion that bugs are everywhere (unless you Uke and feel comfortable with it, and don't have more stuff that the cops could find). STEPTWO:COPS Oh shit, you can barely grasp what's going on outside during your wild mental festival let alone deal with the two blue uniforms and regulation moustaches staring at you. What do you do? a) STAY COOL. Animals can smell fear and they naturally understand the impulse to a chaUenge situation. Stare back and remember a smile never hurt anybody. b)MAKE TRACKS. Why be obvious? Besides, you'll probably find something else to focus your entire attentions on the minute you turn your head. c) PRETEND TO KNOW THEM. AU they really want is a Uttle attention. The correct answer is of course "b", since the users of this guide probably do not have enough hands on savvy to handle "a" or "c". Plus you never know when one of them wUl sprout a second head and throw you right off. Be Yourself. Run Away, run away, run far awayyyy. STEP THREE: ENDURANCE a! If the substance you're abusing 5 happens to be something you _ need to replenish often, how, £ when and where are you going 6 to do it is important. Some peo- w pie get a better rush off of doing ©SK_3_S_Ji drugs in public places, y'know kind of old age homes. Ideal situations are: 1) Language classes— the prof usually has their back to you because they are hovering over an overhead projector and the lights are down low. Just prop your binder up and act pensive. 2) PubUc Washrooms- North America can always be counted on for being too anal retentive to disturb anyone taking a 15 minute shit. Just drop a pebble or two in the toilet and grunt if you think things are getting suspicious. 3) 7-11 Parking Lots- give me convenience or give me death, just don't try and seU anything here. The back alleys along Granville are a definite no-no, we're talking 'the suicide mission.' Just ask anyone who went to see the Fuck-Ups at the Cruel Elephant. STEP FOUR: APPEARANCE No, dark glasses and a tie-die Ralph Steadman shirt are not that good of an idea. But tattooing black X's on your fist is a little extreme and the people that are out to persecute you won't understand it anyway. We have already established that you don't want to attract too much attention to yourself, unless you are starting a revolution. In which case FUCK YOU! You should be totaUy straight, this ain't the sixties, so what are you trying to prove?! FASHION TIPS KIDS UNDERTWELVEEAT FREE: have a couple of children, maybe even a dog, with you. By goUy, it's foolproof, and kids tend to behave themselves more in exchange for the pleasure of hanging out with someone who is "being bad." EXOTIC PETS: a ferret, whistle pig, a monkey... only hermits on the Toronto subway who desperately want people to talk to them lug these funky companions around with them. If you have one, the general public assumes that you have an empty life and everyone leaves you alone except for teenage girls that are probably taking the same things you are. Expensive, inhumane, totaUy simple. "DRUGS FREE BODY" or "REALLY ME" T-Shirts And last, but not least, avoid asking questions like "Where is Lollapalooza?" or doing other things that tend to make one look lost and misguided. Have fun, stay sick and remember' 'When in Doubt, Eat It." Doing Drugs in Public Places By Redd McJann <aXt**t4C*HA presents the newest R&B room in town In the HOTEL CALIFORNIA Sept. 2-4 Party Pigs Sept. 5-7 Mud Bay Blues Band Sept. 9-14 The Mike Jacobs Band Sept.l6-217ne Terry Edmonds Band Sept.23-28 Richard King 1176 GRANVILLE 688-8701 CiTR MOBILE SOUND 228-3017 the cruel elephant [fully a month into the new year of elephant and happy as ie great hands helped make aug. 2 a howl- success (as i remember) like [chri* hou*ton-Juperconductor- Imary-gorilla gorila-the reiven- bomb*hells-the smugglers-the thow business giants- ^acepuller-cnd je(. the cruel elephant loves you all. and now... sepf I is a special all-ages bfternoon show starting ©3:30: LITTLE JOE-featuring ex-members of euthanasia, curious george. , snfu; also epita ph recording artists from Seattle COFFIN BREAK, there will be the same line- the evening shew for all you adults., .doors @ 8. tues 3 those no- cover artists are back JEF w/ MOTHER TRUCKER wed 4 an ing of very high energy rock RUSTY NAILS w/ CAT'S GAME thur» 5 PLANETOF SPIDERS w/ THE WORST fri 6 back to school special featuring MICKEY CHRIST w/ PASTE w/ CLUSTER FUX (actual order un- I) «at 7 which came first- jesus or etvis? find out with CHRIS AND HIS EVIL TWANG featuring ex-DOA rhythm dudes and a guest guitarist, alex varty? art bergmann? randy bachman? California comes HEDGEHOG w/ spoken word-poetry performances wed 11 SHINE w/THE INDECBIVES thure 12 a very- groovy night of Seattle rock HIPPY BIG BUCKLE w/ THE SAPIENS w/ LADYJUGSO PLENTY »at 14 power pop punk 64 FUNNY CARS w/ Seattle s UKE RAIN un IS an almost open stage for a spoken [ word/poetry night at last, tue* 17 the fringe festival's volunteer appreciation night w/ live roots rock bands wed 1« victoria's only SHOW BUSINESS GIANTS w/ only in victoria could come THE VINEGRETTS thur* 19 from san fran women that rock OVARIAN TROLLEY w/ SUGAR BOOM and also from Seattle is SORE JACKSON fri 20 did you say imelones grande? GORILLA GO- jRILLA with special surprise guests total insanity, brass-border weirdness THE SARCASTIC MANNEQUINS w/ western Lashingtons THE SQUIRRELS sun B2 a very heavy night-first three 9 POUND HAMMER; and >rd: TANKHOG. not for the nish! wed 25 is a special benefit show for the good old highly-underrated environment; details Ihurs 26 wee have a surprise headline act w/ SISTER LOVERS fri 27 wow a killer night of frenzy'd pop-punk expto- THE SWEATERS w/ THE TOUCH N GOS two bands that the singing high praise of but the Van press are ignoring' guess they're not as good as loverboy oh well but thats not all from victoria B.U.M. tat 2» from minneapolis the BONE CLUB w/ fran's HITTING BIRTH and on 29 political folk-rock that is ut to sweep the nation from san fran THE BEDLAM ROVERS H ELP! ! ! by Christopher Kovacs He was in the alley behind the bar when I first saw him, wedged between a couple of grafittied dumpsters. The smell was enough to turn the stomach, but I wondered later if most ofthe stink wasn't old pies left by college boys unable to hold it until the next toilet. We were loading the gear into the back ofthe van, and I was stuck with a particularly heavy amp. I'd put it down to rub the strap marks on my palms, and when I glanced to the left, there he was, ragged and dusty, all stubble and red eyes. Those motionless eyes held me for a second, but the drummer came limping out with the rest of his kit, and I broke away to heave the amp into the van. I circled around the far side afterwards, so that I wouldn't pass in front ofthe dumpsters again. Inside, I told the guitarist about the bum, wondering prettily if we should try and help him out somehow, but he came back in after a few seconds, saying, There's nobody out there, man." We used to have arguments about passing out coin in the street. A few ofthe wits avowed that they'd flip a buck to a beggar only if he swore it was for booze, not the perennial "coffee." Others refused only the punks with $200 leathers or punkettes with impeccable make-up and hairdye. Some would give only to the panhandlers who did something, no matter how sad and desperate, like the Old Guy With The Hat by the Royal Bank whose soft shoe routine consisted only of a few almost indistinguishable, exhausted shuffles. I've always been inconsistent. It depends mostly on my mood — happy or drunk or miserable, I'll shower coin like beads of sweat, most other times, forget it. My more socially concerned acquaintances attack this behavior as indefensible. I agree, and refuse to attempt to defend it. The next time we saw him, we were drunk, Sean and Larry and I, and for some reason I knew immediately that it was the same guy. Same tattered clothing, same demonic and doe-like eyes. It was on one ofthe backs treets down in the east end. He was sitting on a doorstep, leaning back into the jamb, ignoring the few people still scuttling from bar to bar. I stopped in front of him, emboldened by the booze, and assumed me best generic-50's-actor voice. "Say, haven't I seen you somewhere before?" He looked at me with this terrible dignity, closed his eyes and nodded twice, then opened them and said "Yeah." And there it was again. I was rooted in front of this guy. It wasn't as dramatic as all that — I stood there, smoking, feeling the fullness of my bladder, maybe even tapping my toe a bit, but I couldn't leave until something more had passed between us. Larry and Sean were fidgeting in the fringes of my peripheral vision, smoking a joint or something, but I stood and waited. The bum sat there motionless, looking at me. I could hear the streetlight buzzing behind me, and a siren far off, wailing in rhythm with music from a bar down the street. The bastard wouldn't say anything. He wouldn't ask me. The last time I saw him was weeks later. I hadn't thought about the guy since the I Morning After that night in the east end. Just another of those odd, drunken standoffs. Random encounters on the street. In weak moments, hungover maybe, with the toxins in | my bloodstream short-circuiting my ability to think rationally, I was prone to the feeling . that there was some pattern to these encounters, some intricate network of connections that I was tantalizingly close to grasping. If I mentioned it to any of my friends, they'd assume I was talking about God or determinism or something, and take the opportunity to harangue me with one of their pet theories. I was walking past an alleys near the spot where I'd seen him last, weeks ago, and saw a kid with a shaven head furiously kicking at a bundle of rags. The ragpile seemed to be bleeding. I ran with a shout into the passage, and after one last swing of his boot, the kid bounded away. Even as I rushed up to the i bloodied old man, I knew who , it would be. He looked up as I bent over him, and even with ' the blood and pain I could tell | that he recognized me. This , time there was no contest between us, and before I could say anything, he asked. ' "Help," he said to me. ©E_^SK_S JULES KILLAM If you stick a stock of liquor in your locker, It is slick to stick a lock upon your stock. Or some joker who is slicker's going to trick you of your liquor, If you fail to lock your liquor with a lock. -Anonymous I've had about nine coffees since I woke up yesterday afternoon and my hands are starting to betray me. Holy shit, I can think clearly though... So let's talk about drugs. Drugs. When you say it you've gotta vocally underline it It sounds better with a Mid-England accent too. So say it like that Drugs. The baby-boomers really fucked up the drug experience. (Sex too. It's getting harder to find cheap, easy sex these days) They went about it all wrong. They used it just as an escape from the dull, useless lives they led. We're not going to do that. We'll do it right With what? There's always alcohol. The recompense previous generations left us because they fucked up. But really, now. What good is it? One St Patty's day in high school I polished off just shy of a fifth of whisky on my own. My friends who could give a better account of it say I was standing straight and could even pronounce my own name. As I said not much good, eh? That and Canadians, on the whole, drink the worst stuff. All right there are others out there fond of 100-proof vodka straight up. Nothing wrong with that is there? But most people aren't. By the time they 're old enough to drink legally, people have acquired a taste for beer or shit mixes. A couple years later they' ve sworn off the "hard stuff (excuse me but dribbles of alcohol nicked from their parents and mixed with Kool-aid does not count as "hard stuff") so they're left with beer. North American beer is probably the most foul beverage on earth. Lite beer with few calories, the colour and consistency of bison piss, and all the taste of watered-down turpentine. Hardly fabulous stuff. Maybe if it was that black, poisonous, overproof European type that melts furniture it would be okay but it isn't so it's not. If you are one of the aforementioned type of drinkers you could try mixing drinks. I don't mean that shit you dump in the blender with ice and fruit I mean real drinks. Pick up a book like Mr. Boston's Official Bartender's Guide. A lot of people say the recipes make strong drinks but they're just a fine strength if you're not some poofter. But there are much better way s to blow your mind, I mean, um...uh, expand your horizons. Sex is a great way of going about it but too often you need a partner so it's a bit more difficult to come by (pardon the pun). Cigarettes work, but for the price and the huge volume necessary they're really not worth it. Besides, there's a billion wankers sitting at the next table who whine and cry and shit their shorts ifyou light up so it just ain't worth it. You could become a Trekkie/ Trekker. (I can't see the difference, can you see the difference? No, there's no difference!) Very amusing and mu- cho-interesting, but to sit down and watch both series without commercials and the movies too requires something like 5 days straight. Even I go a bit queer in the head with that little sleep. Plus, Vulcan ears look really dumb on fully 99% of the population. I suspect that throwing up in a punch bowl is a better way to discover the meaning of life. School must be mentioned. As a mind-expansion tool it's as futile as the LSD your parents used to take. Per semester at college, if I garner one sole, wee snippet of useful information, it can be counted as time well- spent Not to say that school is utterly useless. If any- thing it's almost as effective real work as is ,/y^££SO\. pursu ing a music career. But the best way tt leam anything from school is to chat with the teachers on coffee breaks. Especially the ones who go outside for a smoke. These people are fonts of the most unusable information you wouldn't dare voice in front of your own parents. Plus they always have a miraculous collection of jokes. But at a few hundred dollars every four months is it quite worth the price? Uh-uh, I think not. You can achieve the same effect by taking a bunch of friends to Bino's in the wee small hours of the moming and drinking lots of coffee. Every single popular drug from the 60's through the 80's is useless. No matter how fuckin-A that reefer is, it's not going to do anything interesting to your mind. Cocaine. Now there's a real brilliant drug. I really wanna feel aggressive, paranoid and impotent. Anything that you have to inject into your body is pretty well a waste. Of course the track marks on your arm are a pretty accurate display of how far your brain is melting. But don'tgiveuphope. The intelligentsia of the technology industry is hard at work on new, improved way to get you high. All with the benefit of federal grants, too. Yes, Virginia, I am talking about those, pocket- protected, calculator-carrying, techno-dweebs of Silicon Valley who like coining catchphrases like "multimedia". The avant-garde of high technology are the vanguard of high flying. From digitized hallucinations to teledildonics, these Comp- Phreaks are revolutionizing the way we trip. Steve Jobs, one of the two Steves who created the Apple computer is a self-confessed erstwhile acidhead. Timothy Leary is one of the hottest tickets on the lecture circuits these days giving lectures on the melding of PC's and mind expansion. Apple Computer buys tickets for its employees to go see the Grateful Dead. So what do these info-nerds take to achieve whatever wonderful effects? Hydergine, U4ia, DMT, Ketamine, MDMA. Real hallucinogens. So new and so easily modified that legislation against them is barely enacted before they are strengthened and modified. Talk about incredible stuff. Legal (though just momentarily), with the benefits of clearing all the cranial waste of everyday life, and the ability to work a day and half without rest These are the people who program military computers for Star Wars and Stealth Bombers. Truly heady stuff. When can we, the people, get in on this? Oh, and on a final note, Teledildonics. As best I can tell the concept's been around a couple years. It's the ultimate in phone sex. A body suit with motion sensors and vibratory patches. Hook up with someone over the phone w and enter a virtual reality sexual en- -g counter. No diseases, no pregnancies, g no-one has to sleep in the wet spot. §" Any mind that can come up with ^ an idea like that should be plied with io even more potent drugs... ptsdufii-Qfi v FROM CiTR RETURNS ! VERY MONDAY AT THE RAILWAY CLUB 579 DUNSMUIR See Vancouver's newest bands compete for these fabulous prizes: ISt -24 hours on 2 4 tracks at Mushroom Studios: 20 hours on 24 tracks at Fluid Studios THE FESTIVITIES BEGIN MONDAY, SEPTEMBER _L6 J^ _____■ Wtr- ■ ■_-_-_-__■ *;&*%:: King Missile by Michael Leduc Rock and roll is a strange game. In it you can find bands as diverse as Godflesh and Men Without Hats, Iggy Pop and the Allman Brothers. Each of them could carry the banner of rock'n'roll. They once said that rock'n'roll is the sound of things falling apart. Figure that one out. All I know is that because they're both rock n'roll bands—King Missile, with three albums out on New York-based Shimmy Disc and one new album entitled The Way to Salvation on Atlantic, wound up opening for a local G rateful Dead cover band at 86 SL Music Hall on August 1st It's one of those shows I'll always remember. I'll say, "You know, I remember I saw King Missile, there were only fourteen people there and most of them were watching the Lions' game on the big screen." It's things like this that make rock n'roll great though. DISCORDER: Whatexactly isShimmy Disc and what is the idea behind it? Dave Rick: Kramer suited it after first quitting Shockabilly Records. He was in the Butthole Surfers for a short time but he wanted to get off the road. This studio came real cheap. He wouldn't let anybody put out his records so he decided to put them out himself. The first two were Bong water and B.A.L.L., King Missile was actually the third Shimmy Disc release. So Noise New York, which is the studio, and Shimmy Disc, which is the label, are all owned by Kramer. John approached him in his own fashion. John S. Hall: I just wanted to record demo tapes. I didn't know about Shimmy Disc...There were no Shimmy Discs out at that time. So Kramer said: "New label Shimmy Disc..If you give me the money, I'll put it out on the label." So I gave him all the money. DISCORDER: Soyoupaidforthe recording and he paid for the pressing. John: No, I paid for everything, including the tape. Dave: In those days Kramer was trying to make direct money from the studio. For the most part, unless it direcdy involved him playing on it, you have to pay for i_ DISCORDER: So what you get is what you get. Dave: Yeah, exacdy. For the most part the situation has worked out becausemost records sell 2 or 3000 copies. King Missile and Bong- water have sold more than that, G war also. So Gwar left the label. King Missile left the label and, well, Bongwater is Kramer's band. DISCORDER: So does everyone in all of these bands know each other? John: Not really. I don't know the Gwar people. Dave: I've met them once, I met John by playing with Bongwater and I met Kramer before that because he saw me play in a band called Phantom Tollbooth. He needed a guitarist so he asked me to join Bongwater. DISCORDER: How did the Adantic deal happen? Did you pursue that or...? John: Well, we were sending tapes to various labels last year. There was an A&R person at Adantic records who liked us so within in five months we had a deal. Dave: We had decided to leave Shimmy Disc; we had sold a pile of records and had not seen any money from them even though we had been getting a lot of airplay. John: Actually we hadn't sold that many records, by Shimmy Disc standards we had, but considering "Jesus was Way Cool" was a number one college hit we weren't selling that many records. It discouraged me that we could make these popular records that weren 't getting out to the people. DISCORDER: Do you feel Adantic will give you the push that will help you sell more John: It wasn't even a matter of getting the proper push, what I was looking for was distribution.justgettingtherecordinto stores, and they've been doing that DISCORDER: What do you feel about all these f ormally independent bands like Dinosaur Jr., Screaming Trees, Babes in Toyland, etc., being signed to major labels? Dave: Times are changing, a litde for the better and a litde for the worse. DISCORDER: Do you think that majors are going to bother hanging onto bands that sell less than 100,000 records? John: I think that some labels will and some won't. I don't think Adantic will quit, frankly. It's hard to say, I don't see that Eleventh Day Dream is in any great trouble and they haven't been selling nearly 100,000 records. Their second record did about what their first one did, and Atlantic seems satisfied with that. Dave: It's a matter of expectations; it's a matter of what kind of profits people need; it's a matter of what kind of money goes out for it. John: There was talk that major labels would change. They would wait for four or five years for an act to develop and just not pour as much money in right away. Just wait longer for the bigger pay off Just give it a few years. I'm not sure if that's going to happen Dave: They kept Eleventh Dream Day but they dropped Redd Kross. John: Yeah, but that's different. Redd Kross is like that old style where you dump far too much money in. Dave: Yeah, yeah. Anyway, we like the people we deal with in the alternative department John: It's just a matter of whether the higher ups know how to deal with it. If one label decides to drop its alternative marketing division chances are that the others would follow suit But the success of bands like REM and Sonic Youth make it that much easier for us, and any alternative band that sells over 1.00,000 copies help us out. DISCORDER: Do you feel that it restricts you at all being on a major label with regards to what you can or cannot put out? John: I don't see any evidence of restriction in REM or Sonic Youth or Screaming Trees. I think the bands that make the mistake are the ones that decide to change musically. If you're not a commercial act you shouldn't make commercial sellout music. DISCORDER: I'd agree with you on that point, but what I'm getting at is whether you could put a song like "Double Fucked by Two Black Studs" on an album at this stage of the game. John: I don't know if I could or not, I'm not really inclined to try, but the real question is if I'm really, really angry about Government policies. Or if I want to make a blatant statement about sexual politics would I be able to get away with it? Would I get criticized? I don't know: but it also raises the point of self-censorship where there's something in the back of my mind that might think "Oh, I'm not going to get away with this" and that is my problem and it's something I may break out of and maybe I won't So far 1 haven't felt frustrated or castrated. I feel like I'm able to do what I want. I am also aware that I have the opportunity to go to indie labels with stuff that is way out there. This makes me feel less tempted to want to do it or a major because there are other outlets for m< to do so. Discorder: Unlike other singers you speal your lyrics rather than sing them. Are yoi going to be doing more of that, or are yoi trying to get away from that? John: No, I won't be getting away from that. That' s the easiest most natural thing for me to do. I think I lack the patience to write songs, you know, to write things that rhyme. I want to say what I want to say and I don't want to spend a lot of time figuring out how to make it fit into a typical metrical rhyming structure. If something like "Scodand," which is a simple ditty, occurs to me I'm not going to reject it just because it rhymes and is metrically even. I do prefer to do things that sound more conversational. Discorder: Do you find that the people who come to your shows know what you're talking about? Is there something that is revealed to them when they see you live as opposed to listening to your records? John: It seems to me that if there are some thingsfthat] weren'thighlighted on the record I can highlight them Uve. And also guitars come through Uve the way they do on the record. Live people are probably surprised at what Dave Rick does on guitar... Discorder: What I mean really is a song like "Indians," which is quite poUtical. Do you think that your average Ustener gets the message of that song or that they just say "Ha, ha, funny guy that King Missile singer!" John: Ui the States anyway, I don't know how it is here in Canada, it is impossible to bring up the Indians without being poUtical. I mean that's just the way it is. Discorder: What I mean is that the audience will just think it's a funny song rather than actually think about the meaning of it. A song Uke "Jesus was Way Cool" for instance. John: Some people have a spiritual relationship with that song. They wiU be Uke "wow, that's how I feel about Jesus, he was probably reaUy cool; it would be cool to hang out with him," the whole Jesus Christ Superstar idea. He was this human rather than what you are taught in school that Jesus was this God that you pray to: the idea of Jesus as a man, that some Christians find blasphemous. From "Indians" you have this idea that...you know sometimes just a simple statement of truth is poUtical because governments tend to gloss over the truth because it suits theirmeans. It's just a matter of poUtics that you want to accentuate your problem. In other words, people could say, Indians killed white people too. But it's not reaUy relevant to what I'm talking about, which is the repression and rape of a whole tribe of people, so it is a poUtical statement. But then "Take Stuff From Work" is a poUtical statement "Cheesecake Truck" can be perceived that way. For me, the basic approach is how do I feel about something today? So my opinion about the Indians is that that was very bad of us. For me there is no hedging about that. I would just say no, it was bad, it was evil, we should not have done it. I was just thinking about the war—the most recent one. A couple of people have come out and said "necessary evil, necessary evd" and my thought is that it was completely unnecessary, it was just evil! DISCORDER: How would you approach that idea within the context of a song? John: I did write something about the war, but it was too of the moment It was totaUy ironic, Uke "how great that that war only lasted a week and nobody was kiUed." Sort of a rag on what the government told us, and sort of pretending to beUeve it. I think what hurts me the most is the acceptance that most people had of it and the feeling of a lot of people that it was over. I was actuaUy surprised by the cover of Time Magazine last week, "The war, was it worth it?" That's Time...they own Warner ...they own Adantic. ..That's like the conservative grandfather saying "Hey, maybe we made a mistake." This is pretty fast revisionism and maybe a sign of weakness on the part of the presidency. There's that whole thing about the CIA and the deal with the Iranians to hold the hostages until after the Carter-Reagan election. This is a big news story now and some people are hoping that it may embarrass the President out of office. That may be a pie-in-the-sky kind of dream. But these days in the States, if you want to go on Uving at aU, you have to dream about a better poUtical situation. DISCORDER: It seems Uke you consider yourself more of a poUtical spokesperson or a poet rather than a rock and roU frontman. How does it aU fit together? John: What I do is basically words. I'm in a band because my words get out to more people that way. The audience I want to reach is young people—most of my friends Usten to more records than they read. In general, I think it is better to Usten to artists rather than read them. There's more power in the voice, of say Allen Ginsberg, Immamu Baraka, Jack Kerouac... DISCORDER: Burroughs? John: Oh Burroughs! Forget it! What an incredible voice, you're losing 80% of it by only reading it. Anything you can get out of Burroughs reading or reciting stuff is just rrules away better than just reading it. DISCORDER: So how much longer do you think you wdl be doing this rock and roU John: Even if our second record doesn't do weU enough by Adantic standards that wouldn't be until the middle of 1993. The band would probably stick around for a year after that to try to and get something else going. So in a worse case scenario—another three years at least hut let's hope not. ES^asP© SHINDIG SPECIAL! 10% OFF OUR ALREADY LOW RATES Fully equipped 8-track studio Live sound room and full MIDI sequencing Musicians and services available Bring this ad for your discount Limited time offer. DEADBEAT STUDIOS 5803 THE BEST IN LIVE RHYTHM & BLUES EACH NIGHT 1300 GRANVILLE (AT DRAKE) FOR MORE INFORMATION CALL 681-YALE VANCOUVER'S HOHEST BLUES NIGHTCLUB Aug. 29-31 ORIGINAL SINNERS Sept. 2-A HARP DOG BROWN Sept. 5-7 JIM BYRNES Sept. 9 OLIVER AND THE ELEMENTS Sept. 10-14 DAVID RAVEN Sept. 16-18 OLIVER AND THE ELEMENTS Sept. 19-21 AL WALKER BLUES BAND Sept. 23 GATEMOUTH BROWN Sept. 24-28 LITTLE MIKE AND THE TORNADOS Sept. 30 OLIVER AND THE ELEMENTS Oct. 1 GAIL BOWEN DON'T MISS JACK LA VIN'S JAMS: SAT. 3-8 PM / SUNDAY BLUES MARATHONJAM SUN. 3 PM-MIDNITE OPEN EACH NIGHT FROM 9:30 pm -1:30 am OPEN WEEKDAYS FROM 11:30 am ► AN EVENING FOR YOU WITH <4 FRONT ■ ■■■■THE COMMODORE DOORS 8PM ■ ■ ■ ■ ■ ■ ■ ■SHOW 10:30PM TICKETS on Sale Now at Track, Zulu, and at •>vga<_=1^v-a] INFO AND CHARGE SATURDAY, OCTOBER 51 ON SALE NOW!! PRODUCED BY F Mili-VM*.-.***! Gumball is yet another fine colle ction of New York grungemon- gers who synthesize trippy guitar noise and pop. Fronted by guitarist Don Fleming, who has also played in Dinosaur Jr., Velevet Monkeys (for over a decade), B.A.L.L., and Half Japanese, is suave and debonaire, without assuming the dreaded Car Salesmen's sliminess. He has also produced Sonic Youth (Thurston Moore appears onGumbalTs new release, Special Kiss), Teenage Fan Club and Hole. Bassist Eric Vermillion plays for The Stump Wizards, while drummer Jay Speigel has performed in B.A.L.L., Dinosaur Jr., and the Velvet Monkeys. Recently, Gum- ball stumbled into CiTR's radio station during, their North Amer- some second hand record store and pick up an Iggy and the Stooges record for 50 cents, or how did it all start? Gumball: Well, I guess it's pretty rock, yeah. Like everything we touch is rock. But to me, the Gumball record is a little more pop-y than a lot of the other stuff we've done. Discorder: Wasn't there a formative time in your adolescence when you decided, "Hey man, I don't want to work in a McDonald' s, I want to be a rock and roll star." Gumball: Back then...Well, when I was in high school my room looked like this room with all these records in it. I had a lot of records and I listened to a lot of music, so there wasn't really record it, don't worry about it. Now it's really changed. A lot of bands are going to go straight to major labels. I think a lot o f them that are getting picked up by major labels, make a couple records, and then, after spending alot of money, the label just lets them slip. Discorder: What's the real Dinosaur Jr. story? Gumball: Who? Discorder: What happened? What happened? Gumball: We were in the band, we were out of the band. Discorder: So is this guy tough to work with or what? Gumball: He's no tougher to work with than we are to work with. Imean, we'vegone through more people than he has. He'd All these indies are playing in the major market now, which is good in a way. It's not like regular indies, it's creating something else—maybe just new- style indies. A real indie is some geek who gets enough money together to get a single put out. I think we should get back to that. Discorder What do you think about bootlegs? Gumball: I'll always like bootlegs from the archivists' point of view. I'll listen to a Hendrix bootleg but not The Grateful Dead. I think the people that are buying the bootlegs are buying the artists' legitimate records anyway. Discorder: I'm thinking more about aband like Sonic Youth or Mudhoney or bands that proba- the most part. I went over to Liverpool and did their new album. Discorder: How does it feel to be a darling of the British press? Gumball: Yeah, but the backlash has already started. We had backlash on the first tour with people giving us crappy press. Some posters that were put up said that we had been in Dinosaur Jr., or played with people in Sonic Youth, and these reviewers are getting on us. It just gets a little aggravating when we get bad press about it and, of course, we had nothing to do with it in the first place. How can you defend yourself? You can't You just have to let it go through. Discorder: How does a guy like myself get into this scene man? got it. This is the best way to meet people, up close and personal. We 're meeting people every day. We love it. Then we're going over to Europe to East Germany to do our first East Berlin show. That should be hot. Then back to the U.K. and we'll check out the backlash press this time. In fact, there's some talk of us doing a tour with EMF in October. I think they have to be joking. Discorder: What do you think of all these British bands coming over here and drinkin' our liquor, screwin' our women... Gumball: I hate it. I think we should be able to shoot them all as soon as they get through the gate. Touring America is the worst thing in the world for an American band, but English ^^^~ 1 by Michael Leduc ican tour, where they met up with fellow-grunger Michael Leduc. Discorder: I've heard rumours of a legendary band called the Velvet Monkeys. What was that about? Gumball: Oh yeah, that's still going. We've had that together for about ten years at this point, with fifteen different line-ups and encompassing seventy different people. It's kinda like a party band, with a lot of people, and it's still going, although it's not really feasible as a tc ing band at this point. We do one show a year, so it's stillhappening. We're still in all those bands...Half Japanese... Discorder So how can you start dividing your loyalties between all this stuff? Gumball: Well, it's confusing to everybody, butnot to us. We just like to play with diff erent people. I mean this is definitely our main band, Gumball. We go on tour for four months of the .ear and then record with it, so . is definitely the main thing we're doing. The nature of it rolls quite easily. Discorder: When I listen to this Gumball record, Special Kiss, I think of just one thing: rock and roll. What's the story behind your musical roots? Did you go into one band that started it all. The Stooges were definitely one, Roxy Music as well, however, there were a lot of influences. Discorder: When you guys started out in Washington there were basically two camps: there was the Go-Go scene with E.U. and than there was Bad Brains and Minor Threat. So where did you guys fit into that picture? Gumball: It's the same now as it was then, a lot of people from both scenes were into us but we weren'tpartof either oneof them. We did shows with Minor Threat and we did shows with E.U., but it was weird, it's kinda always been that way. It's like we're not part of a sound. To me the Gumball thing is more like the early Velvet Monkeys sound. I don't think we match too many other bands coming out of New York right now. Discorder: What about points in-between? What do you think about the whole music scene at the moment? Gumball: It'skinda weird at the moment, kinda bizarre sorta. I mean when we were doing Velvet Monkey records, in the early Eighties, we never thought about talking to major labels. We didn't even want to talk to indie labels. We just wanted to rock. Maybe get out a record, maybe not, just been playing with the Velvet Monkeys and it just seemed natural at the time to get in the band with him and do it. Doing the single was a lot of fun, but once we started practicing we realized that it was going to be too much work and we're not into rehearsing that much. We just basically like to go on and play. We're not into a precision oriented thing, and that was hard 'cause we had two drummers going. Discorder: You had two guitarists as well. Gumball: And no bass player, so it was fun but it was just too much like two bands playin' at the same time. Discorder: Back to the independent thing, what about the health ofthe labels themselves? SUB- POP has had some problems recently, and Rough Trade too, so what does that mean to you guys? Gumball: We feel bad and a lot of bands are definitely getting screwed by it. It means that no independentis safe. Before, with the independents, if a band could sell a lot of records they could get sorta big. Now it seems like the biggest one has faltered two years later, three years later, af- terselling hundreds of thousands of records, so I have to blame it onmismanagementof some sort. bly aren't makin' so much money. Gumball: A lot of the bootlegging is because American labels refuse to press records now, and a lot of people who want that product don't have a CD player and don't want to deal with a cassette. So someone's gotta bootleg the record that they mastered off of a CD and it's the same price as the CD. I mean, what do you expect? Of course some kid's going to buy it. It doesn't help the band, I agree, but that's something you got to expect when you get on a major, and you just gotta deal with it. Discorder: So you're anti-CD then? Gumball: WelL.J'm not anti- CD, I'm pro-record. We're pro- 8-track as well, and we brought our 8-tracks with us again. Discorder: What do you have in your 8-track collection there? Gumball: You name it, we've got it: Alice Cooper, Sammy Davis, Cheap Trick, Cheap Trick Live, The Carpenters, you name it. Discorder: Don, you do things on the side as well, like production work for Teenage Fan Club. GumbaU: Yeah, I've been doing a little work on the side. Being in the studio isn't more fun than being on the road, for There's no scene in Vancouver. Gumball: I don't know, but don't look to Seattle for a clue. Let me tell ya, come to New York. You just gotta pull up those roo ts and head down the old trail, the old trail of life. It seems to me what starts the scene is a couple of bands that somehow get big either because they are very good, they tour a lot, or they get a lot of hype. You guys are ripe for it. You got any good bands here? The Smugglers... Discorder: The Smugglers, yeah, they're sorta very sixties. There's some very good bands in town, it just seems to be very directionless at the moment Gumball: WeU, is there a label in town? Discorder: There are a couple sprouting up. Gumball: Well there you go. You have to make your own fate, like in Terminator II. You have to make your own fate, so do it But anyhow, we're going to California, we're goin' to Texas, then we're goin' to Grace- land. We're not playin' there, just distributing there. Discorder: Is this that rock and roll thing? Is this what it's all about: in a band headed across the country playin' tapes, playin' gigs? GumbaU: You got it dude, you bands just go crazy and people here just think it's the greatest thing. The thing there is that the bands are the flavour of the week. The Melody Maker can make or break you, it's just a real different scene there. Discorder: Proportionately, would you say you sell more records over there than here? Gumball: Yes. Discorder: Is it twice as many? Gumball: Well, right now it's been about equal, which has been very surprising over here. We're selling a lot more over here than we thought we would, 'cause we haven't toured that much. In the last few years, we've done 6 or 7 tours in Europe and 2 in America. Both of those were set up opening for Sonic Youth. Otherwise, we would never have gotten them. This is the first one we're doing by ourselves. Discorder: So, what is it with this B eat Happening, man. There are people that just love them and there are people that just hate them. Gumball: You love them or you hate them, there's no middle w ground. They opened a few gigsS for Fugazi and, like them, you're _■ either into their shtick or not. It's S" sorta an acquired taste. I loveK them'cause they know what rockto and roll's all about SEX MAD SONGS ABOUT LOVE, DEATH, SEX AND BOB NOW BOTH AVAILABLE ON ONE CASSETTE & CD Scooter" Brooks and Mike "Mofo" McClean The took let Fi was giveifa' Since their. a major lab band to what il nate in thai relationsi_pj^f^_naj< samp tim», developing and when you drop a lot _ project everyone wants to win." uct turned out tobe The Reality of ,. __\T ,' w3— ,. . , But then how do' jijshbdhe ^previous albums and pack* ; of philosophical irony on society. jeept album for only their third full- te%-? Why not would probably be^a lesaon. Fishbone proved it could be done repertoire of-songs that were con s muckf^Ifl|^_»S|jta«*Just because ^* somewhatser^^with their foneanthey'vel always useltsatire in our music? 'but* this time\e decided to eas6 bi hear somgtltinj unified thing wheye it was just an environment whCT*A_^plecou^d-comfejp,tteace and jdam from one anotiieprWheiKPerry asl^ed us_ (to join the ^_ Lollapalooza tour) tepk.in January we were still in . the studio tearaig opt ha-TsOUU-TRe last thing we wanted to do was>funk\bouf btppr. After a couple of bands dropped out Perry sai^lley, you guys play?*and we said;.'Yesih, weTJ do it' It wds^kgreat idea and I'm gladSPerry had the juice to putivt^ether "Xv - /X. Thus, ThW^qn_j>_lo^ Festival couldn't have been a more £e_hict vehicle for Fishbone to ride, considering Blackl^sdip in the United States has yet to wake up and acffftitthey are while owned. The chances of hearing F_5irt>dne after Vanilla Ice slim. Cultural dive*i^ty?/Well, with 7 Fishbone whom areVeryebservant of role, in American culture, therrinfluences in their music extend"much further thanS*l*.at they grew up listening. to_ But then how do you define a typical band? Well, if you were ever burdened with this task, Fishbone wouldn't even exist as an antonym. If there was one band in this entire world that it would be a felony to pigeonhole, it would be Fishbone for they would have been incarnated in the body of l! So, the obvious question pursed 01 latest common dene "I think wh#m£<lo is pigtail th3|(y£iffer_^lyl^basic_f(j^he sl|pe way we listen to them," sigi toted because they s< Jones, little bltjon that and let grates heejfralit_e.Ii althoi 5J1 v/«,< M.Mr^mtSi rogrammed their m_Bj9 n want we give themwh* k about it you have been America is a big influence on FisMSooe. The difference is we have respect for evetybrte's culture whereas very few people have /espect for ours. We just want people^o know that whjen you k and green that does not mean :r everyone else's cijjture. It and admire the dil erences being proud in the| heritage wear the red, you steamn means that you rl f everyone else, pur own.' t recently, taker, S] ^Mal< this record befc band.. ah ~iga0fnt party, months, in support of TheReali, m ly) say, 'Party ifyfcs, jthey decided to hookup with the I*erry rell's \(Jane's Addiction) art-vehicle brainchild, 1, vMtifch was witnessed The Lollapalooza Festival. Joining the ranks of odor^andiheir appeSr- Siou\sie and the Banshees, Ice-T, Henry Rollins, ;d-tiyil. AuhoughFish- Violent Femmes and Jane's Addiction, Fishbone [proceeds will be leg of the tour where ,N^ils ana The ButdjfKSTurfers gh FjshbonejMjBrtoured up im Dallas to Seattle, they relished the opportunity to participate in Jfecord I this musical mosaic. X^7relea_e< James explains. "Peny just wanted a C_Jfl^_lly «^_u hardcore me have collabors ted with !, on Lee's new fil n on the Although Fishbon j are no igers to the silver screen, with a* Back to the Beach and Tapeheads, Jhej do not appear on screen this time: Howd| doing work on a o ? the jproceec Seat- ipge Ft Rowena 'rT Ricardo Wong Go To the BigAf SITTING IN THEIR EASY chairs placed side by side on the verandah of their house overlooking the back yard of Mr. Dolores' place are Rowena and Ricardo Wong. Having Just spent several days In the Big Apple taking In the New Music Seminar and other sights, these two worldwlse vacationers are eager to tell me about their trip to New York. OV^H^L ICARDO: "IF YOU ARE ^^^Zj^^k sitting in an exit row and ^^^^^^B you cannot read this card ^^^^X__F orcannotseewellenough ^^___^^ to follow these instructions, please tell a crew member. So said the emergency procedures card sitting in the pouch in front of us, Rowena 'n' Ricardo, which I, Ricardo, noticed just as we landed at La Guardia Airport on our way to the annual New Music Seminar. *^B)U. OWENA: HOOBOY, NEW Jk^^^j^k\ York was hot n' humid. ^^^^^ The airfeit like thousands ^^^_H^ of hands pawing at you all ^^H_^^ over your body, grey and sticky gooey fingers probing every pore and creviss. Uck. Ricardo and I sought refuge at the Paramount Hotel, a rather ancient place recently renovated in Philli- pe Starck's ultra chic'n'trendy but sort of expensive Ikea way. Apparently they forgot to repair/replace one thing in the process 'cause I almostspentmywhole week in New York trapped in the company of towels, toothpaste, toilet paper and a stainless steel washbasin. Yes, the rusty old wobbly doorknob on the bathroom door. Maybe he wants us to stay in the bathroom brushing our teeth with his Philippe Starke-designed multi-hue multklollar toothbrushes which Ricardo and I had forgotten to bring with i*w g ICARDO: THAT WASN'T the only thing we forgot, was it Rowena? We, Rowena 'n' Ricardo, also forgot to bring our VCR because there were some verrrry interesting things on the commercial/community access cable channel after midnight Just think. Wecould have brought home with us vids that you would never see on Rogers Cable 4. Imagine shows with names like Beyond Fury: Psychic Blond Fury, Byrd's Women for Women, the legendary Robin Byrd Show, Hot Spots, Hot Talk, In & Out With Dick, Interludes After Midnight, Men & Films, Midnight Blue, and Voyeur Vision — complete with commercials for New York's various escort services including the memorable Geisha Escorts. And then there's this show called Larry V. W. Rock Shop which just has this geeky baseball-capped guy sitting on a chair talking about all these reeeally bad metal videos that look like they should be on Real Power Hits on Rogers Cable 4. He illy pid metal-guy voice which was bad enough, but then you got to see what he actually looked like and that seemed to make it worse. And then there was the problem with thisguy not likinggay people which he kept on repeating. •__L ° £_-»- OWENA: I'LLREMEMBER staying up late watching the wonderful Patty Duke Show on Nick at N ite every night after going out and seeing some nightlife. Hooboy, we saw alot of nightlife! One night we went to the Ritz which is a Broadway theatre-tumed-rock-palace, to see Einsturzende Neubauten with Cabaret Voltaire and Front Line Assembly. Bill Leeb and Co. opened the evening off with a rather lengthy set for an opening act. Foiget about what was said about the Vancouver show at Graceland being a major disappointment etc; I found nothing reallydifferent performance-wise between the two shows, save for the fact that FLA was more or less jammed into the tiny Graceland stage, offering Mr. Leeb little room to maneuver, whereas the football field-like Ritz stage actually made the group look a tad miniscule. Between bands, the club displayed several loooong industriaWance videos on the triumvirate of video screens that descended from the ceiling. However, there were no "I've fallen, and I can'tget up" sequences between videos which my seajndcousin-once^emoved Ansjel Wong told me last year drew much applause and cheeringfrom the parts jg of the audience that were in the »*"% know; it seemed that the videos by Mr* German supergroup (ubergroup?) Lai- J_P bach were the new in-thing to cheer at in a mocking sort of way. Especially that classic "Life Is Life" video. Ah, yes, the audience's reaction to Laibach was something that you can only dream about read ing in Spy, or in Details when it was cool. Is this what being cool is? Cabaret Voltaire followed, but being rather short, I couldn't see them bopping around on stage in their nice white Euro- rapper duds. Rfcardo said they did dance rather cutely, though. Alot of housey stuff, which I honestly found more interesting in this environment than I found FLA. They also did a rather lengthy set, but maybe it was the heat that was making me impatient Or maybe it was the very strong smell of clove cigarettes being smoked around me. Anyway, I was relieved when they were finished, because then I could see the band that we had come to see. After an agonizingly long set of videos including another one by Laibach, Einsturzende Neubauten took the stage and for over an hour they kept the audience entranced with their dissonant violent, aggressive art Guitar and bass feedback were layered with percussion involving chains, pipes, a saw and even a wire grocery cart in a very visual performance. Hooboy, things were screechy and squacky and noisy I Itwas wonderful! Except for Mr. Curly Haired Percussion Man with the New Wave Do who seemed to think he was Mr. Universe, what with his flexing and preening on stage. «|S ICARDO: HOW ABOUT AX^r^m The Academy? It's anoth- ^^^^\^ er Broadway Theatre 9k s__r that s been basica|tygut" * ^*W ted of its seats on the lower level and injected with a muscular rock sound system like the Ritz. The Academy was the site for one stop of the Buzzcocks reunion tour. Nova Mob opened, and seemed to make the few hundred there happy except me. Playing stuff from their album (on Rough Trade, so I don't know where they hell it's from now) which in itself does not incite one to hop up and down, at least Mr. Hart and Co. should have let us sit on chairs or something. After a dreadful nigh-on- an-hour delay in setting up on the massive stage which seemed much laiger than the Orpheum's in Vancouver (or were they just waiting for the crowd to get bigger?), the Buzzcocks took stage, and proceeded to do to the crowd what Coast 800 seems to be doing to Vancouver: making them very happy playing their old punk-rock cum pop hits plus their (some say) weaker stuff from their recent EP. Everyone leftwith a smile and a slightly wistful "remember when" kind of look on their faces. Definitely a return to the good old days of yore though oddly placed in the midst of a new music convention. *^^^k^i American touron the back, ^Bt^Jl^r a" twelve or so. I bought ^* ^^ one of 'em. I mean, what the heck I forgot to buy one when I was ten. It smelted like the subway... an exhausty heavy oily reek... and Ricardo hadn't even worn it yet. •11^ ICARDO: THEN THERE j^kWjmfo was the ni8ht that we saw ^^^^^ the Velvet Crush, the v^gP 360's, Venus Beads, Yo ^_T La Tengo, Das Damen, Urge Overkill and Unrest all in one night! What a night of guitar-based rock 'n' roll! We started things off at a very early hour at the Marquee, a club on the Lower West Side that is almost shaped like a huger Luv-a-Fair, only this place had an airplane a hard tine Yoo-hoocnc tie, cartel a OWENA: T'SWERE$20 W^l*% and had the dates of the r ^* o H Rowena and Ricardo'* Top Phrases Heard In New York. » A man to Ricardo who's drinking through a straw a canned beverage that's hidden In a paper bag: "Can I have some of that? Oh, It's only s %% a Chinese restaurant on Houston Street: "Can I sit down here?" "Yeah, slddown'dere." •» Child and parent In the United Nations lobby: "I don't wanna go on the tourl" "You have to go on the tour. That's why w< H upon finding out Rlcardo's from Vancouver. "Gastown! They ran me out of Gastown." " Man outside a strip club on Broadway trying to drum up business: "Ladies on stage, guys and gals. Six overheated w m oneendtotheotherendofthesubwaystatlonatLexlngtonand60th Street: "Man, it's a lousy world. It's hell. I can tell by the smell." ■* Man to Ricardo walking down Broadway by 43rd Street: "Yo, China. Yo, China. Ma* ■| «> Waiter to a tourist family at Howard Johnson's dining room on the comer of 46th and Broadway where they sell Travellin' Taffy by the boxload In both Ice cream and tropical fruit flavours and where they to _ huge print "15% gratuity not Included": "You know Haagen-Daz don't you? You're from Holland, aren't you? Oh, y'know I think it's made in New Jersey." " Walking around New York, it seems no one looks at anti anybody It's a wonder why there are so many sidewalk salespeople/handbillers: "HI, my name Is Colleen and I'm with— Hey! You're not even listening! Be nice!" " Waiter to Ricardo at a restaurant where RiU </) himself down at a booth: "Hey, let me do that. Wha', do you want my Job?" ■ Man walking along In Greenwich Village waving a fully-extended Swiss Army Knife In front of him like a flag, yelling, "Hey! Right -{m ©EK_2_KP r®_m Dple and Take a Bite h>y Ida J. Latfnam na's Top Beverages e Ricardo Only Drank pel (How Boring) range Juice with Extra Chunky Bits gg Cream made wtth reel U-Bet sticking its nose into the roof of the building. Inside, the bright early evening sky shone into the skylights and made for a very unclublike atmosphere, which was probably the reason why so few people were on hand to watch the Velvet Crush open the night They played a short but enjoyable set with a youthful quasi-innocent exuberance kind of like Love Battery had. After a very short time — ie, only a few videos later—the 360's came on before a much larger crowd and sure made me want to go out and buy their debut album. But then the Venus Beads quickly followed and made me very happy that I had bought their album and had listened to it intently beforehand, because of all three bands, the Venus Beads were the most memorable. Their set included almost all the songs off their album, and nothing was lost in the translation from studio to live. Very lively on stage, their guitarist caught my eye the most; he was this cute fellow like the guy in the Smugglers who ran and jumped about like he was on a frying pan, whether he was playing a solo or not. We left right after the Venus Beads finished their set and before Birdland took the stage, 'cause we wanted to hightail it to CBGB on the opposite side of town to seethe Matador showcase night with Urge Overkill, Unrest Unsane and Superchunk. We got their just in time to see Urge Overkill finish off their set before an appreciative, jampacked crowd that filled the narrow, claustrophobic, extremely hot 'n' humid club. Really, though, we were too far away from the stage to see them 'cause I thought it would be best to sit somewhere and breathe rather than to stand and faint which is why I can'treally say anything about the rest of the bands either except to say that they sounded like their records. We left before Superchunk came on and headed for Das Damen and Yo La Tengo atthe Knitting Factory, which is just around the corner from CBGB. The Knit ting Factory is this really cod with no rock 'n' roll lighting but indirect display lighting illuminating artwork on the walls. There's no stage to speak of, and everybody stands on the floor so Rowena, being the short person she is, couldn't see much. Tengo really didn't need to much as they needed to be duo this time, they wen- true saviours of the e< kind of thing to end off an ni rock 'n' roll action.jfej, A^^ OWENA: HOW ABOUT1 _p|_^^ t Sub Pop ove^Sl^e we ex- \^*%. _,_,perienced?Fbral§belthat \^»s only two hourS^way m*W from us, we sure got alot of it thousands of miles away. Therev were two major Sub Pop nights during our stay. One entitled "Sub Pop and Friends Presents" was atthe Marquee again where Codeine, Reverend Horton Heat, Afghan Whigs, Pearl Jam and Beasts of Bourbon gave the very Sub Pop-crazy crowd (Jonathan Poneman was the most loudly applauded panelist at one of the indie seminars) a hefty shot of The Seattle Sound, even though more than a couple of the bands aren't from Seattle. I've never seen so many Sub Pop T-shirts in one room in my entire life, and I don'tth ink they were even selling any at the club. Plus they were very liberal with the Sub Pop videos on the video screen between sets. Two nights later, we found ourselves gingerly stepping aboard a boat called the Frying Pan for the Sub Pop/Touch & Go/ Island party featuring Pegboy, Didjits, Reverend Horton Heat Codeine. Hinterland and Urge Overkill. Moored next to an r turned into a museum off of i--- Rjver> where > view of the tot New Jersey, or an . __ view of the browner, _..i down the river with the i all it's brown splendour. The is a twice-sunken-once-con- vessel (with bar- >the inside walls to <t the Frying Pan suf-( went .the boatload silence. up the ladder another Jagerroeis- ter and e%esc%p on industry execs ("A the frozen meat indus- (, too.")? Of course some ilks took advantage of this lull in to go wart in line to use the perpetually plugged toilets. Ricardo overheard while in line: "Mind the smell in there. I didn't cause that smell. I only contributed to it." The toilets were equitably separated according to gender, but some guys couldn't wait, and rather than pee overboard like a sign invited, decided to invade the "women's." Rick from the Didjits came up to me. " C an I ask you a question? I don't mean to impose, but why are you here? I mean, you could ask me the same question. I just wanted td&now. I'm just trying to find somebody yi»ho'II just say, "It's a party, I'm just here.* Everybody here seems to be with something." Apparently, the Didjits arid Pegboy were supposed to be playing the same night somewhere in Philadelphia, which meant that they were supposed to leave pronto after their sets on the boat and truck it 90 over to Pennsylvania. Somehow it seems more appealing to be playing on a sunken ship than it is to be playing in Philadelphia. But before leaving, with a beer in hand. Rick reached into his furry coat-thing and pulled out a single, saying," Do you want th is? I don't know why I have it Somebody came up to me and gave it to me I don't know what JIPBto with it Here." single now has a iappy home at CiTR. As we were leaving, a woman followed us off the boat and up the dock to dry land and the highway. *_|^~ ICARDO: I THINK SHE *^Ff * had too much Jagermeis- •k <^^^ ter. cause she said, "Are * T^F you going that way? I'm •* trying to figure out if I'm being stupid walking down this street alone. Can I walk with you?" OWENA: AND THEN there's Bongwater at CBGB. A show so inspiring, it moved me to write a JS The guitarist looked like J.f^Hohm. The drummer looked liketinda Hunt. Kramer looked like Hevn Smith. Ann Magnussen drinked like a fish. Q ^»W*^ H • Potato knish with two kinds of mustard served bya street vendor outside the United Nations. • Moisha 's potato latkes served with a nice big bowl of apple sauce. I personally prefer sour cream, but it came with apple sauce and Norma brought them out. •Black bean soup as darkas chocolate puddin' and served with oyster crackers as big as ping pong balls and just as hard. • Moisha s Chopped Liver and Bacon Sandwich ICARDO: BUT WAIT! Who's J.B. Hohm? Who's Linda Hunt? Who's Kevin Smith? Fish don't drink. Hey! Who turned off the water? I thought the Bongwater show was the most memorable one of all. It started off with Kramer setting up and then Ann Magnussen came onstage with some pieces of paper and started drinking. And then the band started playirg VERY LOUDLY, so loudly that my sweaty shorts vibrated. In a manner kinda like King Missile's John S. Hall, Am Magnussen s lyrics have that spontaneous air about them that is sorta made transparent because it's being performed like it appears on record. Nonetheless, itwas trurymag- ical to hearmaterial from all their albums, plus .,«,,***■■». their encore which they dedicatBdtoACRJP.But does Ann Magnussen ever drink! She must have clowned five bottles in the set Plus she changed her wigs and clothes several times, sorta like keeping track of how much she was drinking. Memorable moments? Actually hearing live performances of "Chicken Pussy," "The Power of Pussy," and that one in a Chinese language that is on the Double Bummer CD, all while Ann Magnussen was referring to and reading from various pieces of paper and books that she had with her. Needless to say, we left after they finished because, well, we were finished " Customer and waiter at here." «* Man to Ricardo »n." n Man walking from rorwanna. Mayorwanna." /er-so-dlscreetly scrawl In toody and no one talks to irdo had proceeded to sit »re! Knives! Five dollars!" Rowena and Rlcardo's Sundry Other Memories " Seeing Joey Ramone standing alone and looking very confused by the NMS Info booth. » Being almost run down by <£> Professor X and his X Clan marching down Broadway, o Really seeing dog walkers at 6pm around Greenwich Village. ■> Being able to walk Into a clothing store In "g. Greenwich Village at 2am and look at shirts and dresses, n Actually seeing people picking stuff at 3am from the comer store's fifty-Item steam tables/salad bars full of 3> stainless steel trays of everything from makl-zushi and potato salad to fried chicken wings and lasagna, all served In 90-degree heat. " Buying my $0.99 glass jar of Ruff _- that Ricardo so considerately proceeded to drop on the hotel room floor. My, does It swell up when exposed to air. I was cross with him for a while, but now I » would like to make a percolating Ruff lamp complete with sparkly glass bits. New York certainly Is a catalyst for artistic inspiration. = Seeing men four or five to h» the block selling gold watches out of attache cases. *> Having to ring the doorbell to get Into some shops because they don't want to leave the door {_" unlocked. ■> Walking In Time Square at 2am with all the big neon signs turned off. <- Propina Es Parte Oes Nuestra Profito. Sea Generoso. smsm® DJ SOUNDWAR CHAPTER II by ADAM SLOAN AL MONDAYL SepL 2nd OUUOTSKH DOSE PUMP. WVE JllBX (1AM ON (31AJ^ SepL 9di mm ne¥ yoftt mwjder amgamor stone iw Sept 16tk SACl-UFKE aiMK ™^ SepL 23rd MAIflOLVK. WOMB SERVICE. PLUS GUESIS Sept 30lk FAKEIT IKllMEFAI_SEWriiN^_raG^ ALTERNATIVE TUESDAYS SepL 3rd JUKE MONKEYS, «MJA GORMA DOGHIIA IT SepL lOtk DErVDSWi^aiMSEnci SepL 17tk GpiU lWtLg Artisb THUNDER SepL 24lk 1BA 1055 HOMER 681-8202 Uh, so you're wondering "what tha hell is a DJ Soundwar?" Well git this y'all. Let's go way, way, way, way back before Shaft with a mic in the Mack, oops, I mean to the year 1990, A.D. around June, when things were starting to come together for the now legendary DJ Soundwar, chapter one. It was the product of a few hard-workin' members of this here radio station CiTR, who wanted to provide an outlet for local rappers, DJ's rap crews, and dancers to work it out in front of an audience. It all culminated in two frenzied days of activity, August 31 and September 1 with all the hippest hip-hop addicts in Vancouver checkin' out what was goin' down in their own city. There were also a few imports from Seattle and even farther down the American coast, doin' their dang for the prizes and the fun. A good time was had by all, no doubt! Looking back, it wasn't really important who won, as everybody that entered won by finding out that they weren't alone and friendships were struck everywhere. Chapter n should give us the opportunity to see some new Vancouver rap talent, as well as being able to check out how last year's contestants have progressed. As well, this year promises more prizes for contestants and the audience, a large video screen, and the first-ever Graffiti Clash. There will also be a DJ equipment exhibition with tons of the latest mixers, turntables, and a few demonstrations by MR. Control from MuchMusic Extendamix. So if you 're down with rap, you just gotta be at the SUB Ballroom out here at U.B .C, 6pm Saturday September 14 and Sunday, September 15 for CiTR DJ Soundwar Chapter n, along with thousands of other people chillin' to da hip-hop beat. Awright, I'll see ya there. I'm outta here y'all. DJ SOUND WAI I CHAPTER TWO CiTR'S RAP AND DANCE COMPETITION SAT. SEPT. 14 & SUN SEPT. 15 SUB BALLROOM, UBC RULES RULES FOR DANCERS -dancer, may compete Individually or ki teams dancers wUI supply a music track of a maximum of 5 minutes on cassette or record » will be juojged on technique, timing, originality, presentation and eresponse S FOR MCS -MCs will compete individually in elimination rounds until a winner is declared -contestants may use any rhythm or backing track they wish In the first round (up to a max. of 5min.) -In successive rounds, MCs will be required to perform to rhythm tracks of 60 to 90 seconds in duration decided by the Judges (each MC will have a choice of hiphop. house or dance hall style backing tracks In each round) -MCs will be Judged on delivery, .Tical content, originality and audience response. RULES FOR DJS s will compete individually In elimination rounds until a winner ia s will perform in rounds of 90 seconds to 3 minutes In length as decided by >Judges s must use the supplied turntables and mixer -DJs may use tapes and other sound sources but must supply a list of equipment to be used which will be approved or revised by the Judges as they see fit -DJs will be Judged on technique, timing, originality and audience responsse RULES FOR CREWS -crew entries must comprise of at least two of the three other categories -crews will perform one set of 7-10 minutes in duration y and audience response CiTR'S RAP AND DANCE COMPETITION SAT. SEPT. 14 & SUN. SEPT.15 SUB BALLROOM, UBC HOSTED BY EARL THE PEARL SHOW STARTS AT 6 PM COME EARLY & WIN PRIZES OE EXHIBITION OPENS AT 2:00 PI ■ UL EQUIPMENT 10-40 I OFF : MR CONTROL FROM MUCH MUSIC EXTENDAMIX W-30 RAP ftKD DANCE REMIX DEMO I CLASH: NOON TO 6:00 PM SPONSORED BY: NATIONAL SOUND 01 & NIGHTCLUB 3:00, 4:00 & 5:00: GRAFFITI ,[_3RBCORDS_TAPES <g|f SM [UlRolancI -.„ lasses."- NumnrkSSK «^ ■*?*.* x%> m CiTR 101.9 fM & COOP PRESENT AN EVENING WITH TORONTO'S STREETNIK MASTERS OF BOP-RAP With Special Guests ROOtS ROU ilCMLI P THURSDAY SEPTEMBER 26TH Doors 8pm viaiis ana an me rei The Fabulous mm ts or. charge by phone at 280-4444 870 Granville Mall f <TSkC ^Ho^ •&\ H^pi'S\oVaFW\\i WALKING WOUNDED are a five piece rock'n'roll band from Hollywood. I was supposed to talk to them before the August 9th show but they had the border guard blues and I had a baby migraine, so after waiting an hour I went to White Spot with my beau and had the Soup of the Day (broccoli and cheddar) and a side order of coleslaw. Feeling somewhat revived, we headed over to the Commodore. Robynn had given me their new release. Hard Times, in the hopes that I would interview them. After giving the tape a few listens I had decided that they were pretty good, I liked the second side better than the first, but I wasn't in love. It came as a surprise then, that as we were going up the steps of the Commodore, I began to run, dragging my boyfriend, because I could hear strains of "Sarah" and didn't want to miss it They played a lively set, I danced and sang along and finally chatted with them afterwards. We talked about borders, Bob's Your Uncle and boxer shorts. Jerry has a great voice, was very hospitable, and even gave me a beer. Maybe I do love them after all. voices: Discorder (that's me) Jerry Giddens (vocals, acoustic guitar) Louis (new bass guitarist, didn't catch his last name) Kent Earl Housman (electric guitar, vocals) Tom Lillestol (percussion, vocals) ?—mystery man (new drummer) Discorder: You had some problems at the border, I hear. Jerry: Whoah, golly! Yeah, we had a lot of problems. They seized our equipment truck and we had to pay to get it back—I felt like I was in Mississippi, you know where the guy goes, "Give me a few dollars and I'll let you cross." So uh, yeah it was—I think there's some sort of war going on between the United States and Canada now [about] letting musicians in and out. DIS: What's it like in Hollywood? Are you overshadowed by movie stars? J: Uh yeah—I guess overshadowed might be the right word, it's one of the strangest places I've ever lived and I'm not sure I will ever get over it. Actually, I just kind of moved out in the mountains—for the first time in fifteen years [I'm] not living in the city. I kinda feel like a country rural guy again. DIS: Originally you're from Louisiana? /; Yeah—from the country. I feel so at home when I drive through these woods up here. DIS: Is CiTR the first Canadian radio station you've talked to? J: Certainly on this tour. On the last tour, for Raging Winds of Time, we had—what's the big station out in Victoria? Q102 or something—I can't remember who it was. They played a little of our last record, and actually we got some play around Canada but our record company kind of dropped the ball and nothing ever happened. But you're the first one on the Hard Times tour. Yes, ma'am. DIS: Well, we'll give you lots of airplay. J: Good, good. Which song do you like? DIS:Iguessit'satiebetween— J: Do you like "Sarah"? DIS: "Sarah" and—what's the last one? J: "Saddled By Idiot"s? DIS: Yes! /; You like "Saddled By Idi- DIS: Ilike"SaddledBy Idiots". /: Oh, I thought no one would like that. I almost didn't put it on the record. DIS: No, I liked it I liked having the pub sounds in the background. /: Yeah. Those are sound effects—it's terrible—but we did it. It wasn't really live but I've played many shows where it was equally as devastating. But yeah, a lot of people mention that song—I thought no one would really check it out. (Actually, my favourite song is "Broken Spirits," which provided the title for this article, but in the stress and excitement of my first interview, my memory failed me.) DIS: Have you ever heard of your labelmates Bob's Your Uncle? /: Oh! Were they here tonight? What's the lead singer's name? DIS: Sook-Yin Lee. J: We love her. When we were doing this record, we were thinking about signing to Doctor Dream and they had done this billboard ad with her picture on it. We hung the picture up in the studio, and I'd go "Look at this fine woman and play this song." Don't tell her that. Actually, I met her for like, five seconds. They'd just done their show at the Monterey—she's marvellous—and I walked up to her— they were playing our record on thePA,I'msureshedidn'tknow who I was and I'm going "This record is for you. The whole band looked at your picture"— and she's going (makes "who is this guy?" face) DIS: You wrote "Loneliest Road" for the Beat Farmers. Have you done anything else with them? J: I did a solo record a couple of years ago, an acoustic kind of thing and the BeatFarmers wanted Walking Wounded to open some shows. Walking Wounded couldn't do it but Jerry Giddens could. So after about three gigs, Country Dick goes "I thought you had a fuckin' band" and I go "No, no, no, that's the point I don't have a band." So I got to know them through that and I just think they're some of the best people in the business and they are great musicians. DIS: Yeah, they're a lot of fun. I saw them a couple months ago here. J: Those are songwriters right there—and Country Dick, he's always on (in the background, "Praise the Lord!"). DIS: Every single article I read mentions Bob Dylan as an influence. Any extra comment required there? /; I love Bob Dylan. I think he's the best living American poet and if I could write one song as good as any of his, I'd feel like I was a good songwriter. He's the best I don't give a shit about his personal life, I just like his songs. I don't think they're prophetic either, I just think they're great. I love Bob Dylan.(laughs) DIS: We love Bob! (choruses of "Bob!" in background) J: Of course, I'm not the only one. DIS: Your press release makes some comment about you being "quintessentially American rock'n'roll". What makes you so American and so quintessential? Do you actually feel American—do you feel very American, as opposed to me feeling very Canadian? J: No. No, no. I'm not very much of a nationalist person. I actually think that we all ought to be one country. But it is a source of pride. I really feel that America bred rock'n'roll. Rock'n'roll started there. The problem is that we don't have the best rock'n'roll bands any more.Thebest rock'n'roll bands are from Australia and Canada and England. I really believe in an arrogant sortof way that we're oneof the great rock'n'roll bands in America right now—because therestof them are doing horse- shit music. Bands like The Paladins, thank god for them and Dave Alvin and these folks 'cause you know we don't do the music for money and we don't do it for the clothes, we don't dress up—we play rock'n'roll. And we do what music is supposed to do for a community, at least, we hope we do. When people ask me, I always say we're an American band because I feel that groups place [i.e. identify?] with American musicians but in a sense, I pray that we 're auniversal band. And I think that our songs are kind of universal. As I was introducing the song that was in Gallup, New Mexico I realized how American my perspective is, for better or for worse. But I love Canada. God, I almost lived here—almost ran away from the draft and came and joined you folks. You know Jesse Winchester? DIS: Yeah. J: He was one of my original influences and I would love to meet Jesse Winchester one day. I almost had to follow him up here—but many years later. DIS: (to the rest of the band) Anything you guys want to say? Tom: (Pee Wee Herman imitation) /: No, don't do any Pee Wee humour. This is Tom and Louis—Louis is one of the newest members of Walking Wounded. Louis: I just want to say that I thank the Lord for beautiful women like you. DIS: (laugh) But they can't see me on the radio. J: Well, they can now. With that description, god! L: They don't need to. J: And Tom, what do you want to say? DIS: I'm happy to be alive. H: One last question. There was a comment in one of the articles I got that the Nineties [for us] might be something like the Thirties were for your parents' generation. Do you really feel that pessimistic? J: I certainly did when I wrote the songs [on Hard Times]. My concern is that for eight out of ten Americans Ufe is well and they don' t feel like that. And I'm one of those people, I'm very blessed. Me and Louis were talking about this earlier. In fact no matter what troubles we had crossing the border— L: Very minor, very, very minor. /: We're still blessed—humans first and musicians second. As hard as this is sometimes, there are tons of musicians who wish they were in c : shoes. In this country, two out every ten people are havin' hard times— L: More th in that— J: At lea .. Four out every ten Americ- i children go to bed hungry. American children! This is insane! And I just feel that no matter how good it gets for eight out of us, if two of us aren't doing well, than none of us are doing well. We ought to be taking care of these children. You all have a national health system here, which is incredible. You don't know how lucky you are! In the United States— DIS: You just pray you don't get sick. J: We pray we don't get sick! I have two kids, I'm a grown man and I worry—it's just incredible. It's just insane. The richest country in the world and we can't help the poorest among us stay healthy, we can't feed the children in this country—this country? here we are in Canada!— DIS: We've gothungry children here in Canada, too. But the health system does help a lot. J: And don't let them bastards take it away from you. You've got to fight for that shit. We could have had it in this country fifteen years ago, and we all backed down,—this country? We could've had it in the United States. See, I feel at home here— DIS: Well, that's fine. I know what you mean. J: Yeah, but I don't want to be some asshole American. That's the last thing— She'll probably put that, "We don't want to be asshole Americans" DIS: That can be the title of your next song. J: "Asshole American". After that border guard I met, it may be "Asshole Canadian". I'm lookin' at this guy, goin' "You must have learned your shit from some American fuckhead." They just treated us like shit. There was no reason. We were totally being up front a thousand percent— T: I was wearing my boxer shorts. J: I don't like to lie, y'know, so I don't carry my pot across the border. So I don't lie! I think it's terrible that the United States is hassling Canadian musicians too. You know, there are Irish musicians who can't get here [like Dick Gaughan]. We can't see these bands! Bob's Your Uncle had a little problem, but there were a couple other bands from Canada that had a lot of problems gettin' down there and I can't remember who it was. There shouldn't even be borders. I mean, Canada and the UnitedStates, what the fuckfor?! Why? Why's the border there? We're the same, it's all the same shit. I'm ready to just open the borders from Chile all the way up to Alaska. Just let people go. You know there are Indian tribes that lived in an area of the world for thousands of years, and we came and we built a fence across it, and we said that's Mexico and this is the United States. You all have a huge Indian— Native Canadian population. What are the natives known as here? Eskimos? DIS: No. They're usually just called Native Indians, the indigenous people [today, I would say First Nations]. Further up north, you have the Inuit. L: How long have youbeenhere? DIS: I've lived in Canada all my Ufe. I was bom in Alberta— /; You and Neil. We love NeU Young. . . I love Bruce Cock- bum. "If I Had a Rocket Launcher" is stUl one of my favourite songs—I wish I had written that song. But I didn't. But if I had a rocket launcher today, baby! We'd have blown up some custom houses! L: This is Kent, our guitar play- _, er. Kent, say a few words. t| Kent, abbb bbbb aaaa bbbb abbb § bbbb aaaa bbbb g" And on that obscure note, we jg said goodbye. B_%5_jS3© SUBSCRIBE To Discorder Magazine $15 CDN (in Canada), $15 US (in the States), $24 (everywhere else). Discorder c/o CiTR UBC Radio, 6138 SUB Boulevard, Vancouver, BC, CANADA, V6T 2A5. .e him halieiuiiah good news praise him halleluliah GOOD NEWS'" \FREE SNOT OF JESUS BOOGERS OF OUR LORD & MESSIAH SCIENTIFIC FACT! .J_L BIBLICAL PROOF! JESUS J&EL LORD OF "CHRIST" LORDS! SCIENCE PROVEN! SCRIPTURAL PROOF! SEND FIVE DOLLAR LOVE GIFT TO INTERNATIONAL SECULAR ATAVISM IN CANADA: P.O. BOX 1776 STN."A" VANCOUVER, B.C. V6C-2P7 IN U.S__,: P.O. BOX 69243, PORTLAND, OREGON, 97201 I SCIENTIFIC FACT! SCIEN-TERRRIFFrC, FACT!!! SCIENCE PROVPN* FOR FREE STICKERS OF THIS AD SEND A S.A.S.E. STUDENTS - WELCOME TO jipflRfig)isf_i VANCOUVER'S BEST SHOW VALUE! GREAT TRIPLE FEATURES! SEE 3 FILMS FOR ONLY $2.50! ENJOY THE BEST IN MOVIE ENTERTAINMENT AT THE LOWEST TICKET PRICE IN TOWN VANCOUVER'S ORIGINAL DISCOUNT THEATRE & STILL THE BEST! ALL SEATS ALL DAY WE WANT TO MAKE THE PARADISE YOUR FAVOURITE THEATRE 24 HR. SHOW INFO: 681-1732 That Kevin guy was supposed to cover this gig so I thought it'd be safe for me to drink my face off but since he didn't show up I guess I'll have to do the review. I arrived late, partway through the Clusterfux set, but I heard enough to be impressed: fast, slow, fast, slow tight hardcore with a raw edge. Paste was up next and Holy Fuck were they good. As far as I'm concerned, the Paste members' old band, Subverse, was one of the most amazing Vancouverhard- core bands, ever, and was seriously underrated. And Paste completely picks up where Subverse left off. Totally intense face shredding hardcore, hopefully Vancouver audiences will be a little more receptive with their style this time around. Unfortunately, afterthis point I staggered off into the night and completely missed Shutdown, so I'm going to let my roommate comment on their show; "Shutdown put on a solid, intense set of hardcore. Unlike the last time I saw them when they were consumed by their own semi-nakedness; the fact that all five members of the band ended the gig in macho shirtlessness didn't detract from their music. Instead of focusing on each others silky skin, Shutdown kept churning out the kind of all encompassing hardcore that drunken legends are made of. Assuming they can deal with their rock'n'roll stardom (no mean feat) they might actually transcend the incestuous local So overall Iguess it was a great gig, with the possible exception being that the audiences at all ages gig tend to show a bit more wild abandon than the Cruel Elephant crowd. Oh well, who the hell am I to talk? I rarely jump around for any band so I guess I just contribute to the general lameness. Speaking of lame, the cover of the new Superconductor 7" is obviously intended to turn a few stomachs, but it is a little too blatantly exploitive to be all that interesting. Still, it does catch the eye. And that's probably a good thing considering the music is quite cool: harsh, heavily distorted screaming grunge. It's very very heavy but I find the amazing vocals are what really push it over the top. To tell you the truth though, I was a little disappointed that you can'treally tell that's there's 7 guitarists. The Lu ng 7" is finally out and it has been well worth the wait. Both songs are filled with raw edged screaming distortion, but the brutal pounding drums on "Consume" make that one the real standout for me. This i s too energetic to be called 'grunge,' and too downright catchy (in a kind of harsh way) to be called 'noise,' so quit trying to make me 1 label it and go out and buy the stupid thing. Very, very, pretty vinyl. This has been a hell of a month for Vancouver vinyl. Hot on the heels of the Scratch releases comes TheMintisaTerribleThingtoTaste, from Mintrecords. It features Tankhog and Windwalker doing the Ministry songs "So What" and "Burning Inside" respectively. Ever heard of the expression "this was a cover that needed doing"? I'd say that was the case for both of these songs, the Tankhog one having the slight edge of approval from me over Windwalker. Tankhog's version of "So What" has to be heard to be believed. Incredibly heavy, it is a fairly faithful rendition ofthe original with enough variation to keep it interesting. From a completely different stylistic camp, Windwalker do a much faster, although a slightly less harsh sounding, version of "Burning Inside," with a little more vocalmelody and a definite fast hardcore sound to the drums and guitar. This release should be checked out even if you have no real interest in either band; I mean, I normally find Tankhog's thud-metal sound to be a bit boring but they really kick here. I'd also like to men tion that the packaging is totally great, the Tankhog side especially worth noting. Well that's it, I guess the column's a bit short this month but we've gotta have a life. Speaking of a life, this will likely be the last column I'll contribute to but Kevin will be carrying on the banner so keep that fan mail coming. photo ol Paste by Kai Korinth Ooooh September's here! Time to plant yerself back in that desk scoured sparklingly clean of any year-old Dubble Bubblicious Yum and start chompin' on them HBs, right? Not I. Nopesirree! I'm gonna keep on sitting here with my orange sequiimed velour Nardwuar recordplayer just a-listening to all these 7"ers. Now where shall we begin... Let's start with a Supersuckers record, shall we? I just got ahold of "Junk" (eMpTy Records). Frankly I don't think they sound like "generic, pneumatic, drill-sounding punk" as one live reviewer described the band as being a couple months ago. Actually I don't know what that means. One of them Vancouver Special guys told me that the Supersuckers are like the Derelicts only a whole lot louder or a lot rougher or tougher or whatev - er... all ofthe above. Listening to "Junk" kinda reminds me of having one of those dreams in which all your teeth fall out, disintegrate, or otherwise go all gritty. I like this, especially "Girl I Know" on Side 2. It's grinding catchy crunch. And I don't have to ponder as long over this record as I did over that dream. By the way did anyone see last month's Supersuckers' record review in Hypel That label from Bellingham that starts with an E have put out another three record box set Problem though is that when I opened up the box much to my horror, I found only two-thirds inside. So, here you get only two-thirds of a review. Anyway, this compilation is called HalfRack: The 12 Drunkest Bands in Showbiz, and just like its predecessor thcLunch Bucket that came with a set of trading cards, th&HalfRackcom&s with extra stuff that makes the box rattle. A book of matches, a coaster. A perfect gift for your pyromaniac drunken vinyl-collecting cousin. Musically The HalfRacktecks theLunch Bucket and most of the other recent compilations right out the door and down the street. A heckuva lot more variety. A heckuva lot more listenable. TheLunchBucket was sort of difficult to listen to all in one go, but this I could listen to all day long if only I didn't have to get up to change records. It's kind of a silly idea —this drunken band thing— but the tunes themselves (the eight that I've heard) are cool regardless. The Derelicts are their raw Derelict selves tearing through a cover of the Cosmic Psychos' "Lost Cause." Seaweed once again splendidly covers a Beat Happening song. This time it's "Foggy Eyes." Maybe next time they'll do "Hot Chocolate Boy." Wahoooo. There are a couple low points on this gathering though. Even a recent appearance on Entertainment Tonight couldn't make me wanna listen to the Untamed Youth's tune more than a couple times. Pris- onshake's song is a rocker, but their own last release was a lot more catchy. Missing from my set was the "M" bunch: Mudhoney, the Mono Men, Marble Orchard, the Mummies. Nardwuar who does have a complete set says "The Mummies do Suzi Quatro's "What a Way to Die". It'sgrraaaaytt!" You should probably buy Is This Bob's record (Plumb) on looks alone. The cover photo is amazing and quite suitable for framing. Inside you get three tunes, one of which is a cover of "Doin' It Our Way" (y'know from Laveme & Shirley?). That cover and THE cover are the best things about this record. The other two songs are not too special party rock that unfortunately pale in comparison, although "Sally" seems to be a tune that'll eventually grow on you. In the meantime you can spend your time absorbing the amazingness of the covers. The firstreleaseof the Parkland Pride Co-op is the Parkland Pride 7". This appears to be one of thosebunch-of-band-bud- dies-get-together-and-do-a- record records. It's a party on vinyl. How critical can ya be? The only problem with a record like this is that it can end up being too much of an in-joke leaving the listener out of the fun. But oh well, if you wanna crash the party, you can find it at Meat Records in Tacoma, WA. From Columbus, Ohio (home of The Boys from Nowhere who put out many a 7"), come the Red Devils. Although this 4-song EP sounds at times as if these guys were recording while vacuuming their livingroom, this record deserves a spot in every jukebox in town. Good but not great, afunrock-a- billy stomper. Oh and by the way, "Button Nose" is also covered by the A-Bones. What's this aBenny Joyrevival or something? "Yo Mamafish'TTop Song = Food" by The Dambullders (Puppethead). If you've been hankering for some unfancy un- Another year, another Shindig. Do we really need to go over all this stuff? I mean, you must have been submerged in one helluva thick peat bog to be unaware of the whys and whereabouts ofthe Great Shindig Event Oh, come on! Shindig is better than Christmas! It's an opportunity to see old friends, have a few drinks, Usten to some hot tunes and we promise that you will never have to kiss any of your relatives. What Shindig involves, in case you might still be wondering (and I will pause here for you to clean the peat out of your ears)... is the most loved and hated annual music event in Vancouver. It ain't sponsored by some drug—pushing tobacco company, nor is it related to this "Music '91" shtick... no, no, no! Shindig is sponsored by CiTR, as well as our prize-donating friends. Therefore, it is not some vehicle for crafty music—industry schmooze-heads to hit on "the next big thang" and whack each other on the back while paying lip-service to "supporting local music." Shindig is an opportunity for inexperienced and original groups of musicians to play in front of real people on a real stage and feel the thrills and excitement of a live performance. Shindig also throws in an element of competition and completely arbitrary subjectivity with its "battle of the bands" format. But that's the kinda dog-eat-dog world we Uve in, so y a better get used to it before ya drown in yer idealism. But what about you — the original local music aficionado? What does Shindig offer to you? And what if you've never been to Shindig? (gasp) What should you do? say? wear??? These are all excellent questions, and to assist you, the novice Shindig- goer, we have compiled: The Beginner's Guide to Shindig Etiquette: or how to be a local music know-it-all in six easy steps 1. First of all make sure it's a Monday night. Shindig happens on a Monday, not Tuesday (go see a movie), not Friday (don't you have anything better to do on a Friday night?). It's Monday, got it? 2. Round up some friends, the more the merrier. If you don't have any, dial 911 and scream as loudly as you can. At least you' 11 feel better. 3. Arrive early. Shindig is much more enjoyable ifyou can find a table and down a pint before the show begins. Relax! It's been a long day, you've earned it. The music you will be experiencing at your typical Shindig round is challenging, different, energetic, and creative. It isn't background music, so be at- tentive! Moving one's body parts in time with the music is optional, but encouraged. 5. Shindig is a competition and, alas, this does require the execution of some painfully subjective decisionmaking by your friends, theShindig judges. The judges are really very kind people, and make every effort to be as fair and as open-minded as possible. Sometime, though, you just gotta separate the meat from the fat, the diamonds from the gravel, the poop from the porcelain. This is the challenging yet rewarding jobofaShindig judge. Look in your yellow pages under "recruiting." 6. After the evening is finished, you have the opportunity to ar- complicated pop music wrapped up in a confusing black, blue and white sleeve, check out "Yo Mamafish'TTop Song = Food" by The Dambuilders. I don't know why, but for some reason when I opened up this record it smelled kind of peppery or lico- rice-y like a spice shop. Maybe The Dambuilders are chefs or bakers by day. Maybe that explains the title of the B-side of their 7". Hmmmmm. Maybe it's lunch time. Sleepyhead is a trio: Chris O'Rourke, Rachael McNally and Michael Gallinsky. On their single "Play" b/w 'Too Much Fun" (Picture Book Artifact), they credit Gene, Jamie, Snake and Tae for concept, spiritual reference, choreography and sleeve design respectively. It was recorded by Kramer at Noise NY. It is brilliant. Brilliant in every single way. Sleepyhead played in Olympia at the International Pop Underground Convention. No doubt they were brilliant there too. I wasn't there, I was at home playing their brilliant record over andover andover again. So there. Yep, that' s all for this month. If you've got a 7" out, pleeeez send it my way! Plus for more news on 7"ers local-style, flip to Vancouver Special. Beware of the evil plastic 7" centre thief. gue and bicker with your friends and new acquaintances ftboutthc evening's events, in eager anticipation of next week's thrilling installment. And you can follow the exciting play-by-play right here in your handy copy of Discorder magazine. [Ed.—Rory Tait will be providing a blow-by-blow description of the Shindig event for those unable to get down to the Railway Club on Monday evenings. Shindig starts onSeptember 16.] m&m® SECRETS ENTRUSTED TO A FEW S U B T E X T BY JUDITH BEEMAN Science Fiction fans were out in force at UBC for the big Westercon 44/V- -Con 19 bash (July4-7). The cream of the SF crop was present, over 2,000 people. Between the author's readings, movies, art shows, Star Trek weddings, and panels galore, it was go go go. A rather wide-eyed subtext was there too! So SF culture is on deck this month, including a look at Westercon, bookstores in town, vital texts and local writers. And, oh yeah, readers of this column will know "people are reading" (bottom o' page) is where I get folks to share their book lists... William Gibson ... for example. Happy Reading! Perhaps the most informative panel I attended at the Con was Neglected Authors, with Spider Robinson, Cliff Bums and David Brat- man. Spider and Cliff are writers and David is editor of Mylhprint, a SF journal from San Jose. The three brought up many names of writers somewhat "neglected" today. Their testimony was truly impassioned; whatfun to see experts in "fan"mode. The following list is from this panel, writers whose style is timeless and worthy of perusal. Neglected Authors JG Ballard Terry Carr ~>'-'x:^'^ '** John Varley David Gerrold Henry Kuttner ■.>/.a Cyril Kornbluth , <> ;A Gardner Dozois (y-*-(> "; > Edgar Pangborn ~\,;■;'•: A' Karen Joy Fowler "v$£ Keri Hulme Bone People Theodore Sturgeon Godbody John Bellairs Face in the Frost William Fairchild No Man's Land Norman Spinrad Radio Talkshow Hosl Terry Bisson Talking Man, Wyrld- John D. McDonald (wrote SF before mysteries) Charles Beaumont DarkHeart (collection of SF) Diana Wynne-Jones Fire and Hemlock (for the kiddies) Robin McKindley Outlaw of Sherwood (redoing the classics) Judith Merril (they raved about her, a prolific writer, also an editor) Local SF Media Tune your dial into the other keen radio station in town, Co-op 102.7 fm, each Thursday night for Ether Control, a SF extravaganza, 9:30- 10:00 pm. The BC Science Fiction Association wants you! A social club for over 20 years, promoting SF/fan- tasy the group has weekly raves at the Burrard Motor Inn (Fridays), monthly mlgs and lots of affiliates such as the Time Meddlers (Dr Who fans) and Star Trek clubs (lots of 'em). For more info on the BCSFA, write box 35577, Sm E, Vancouver V6M 4G9 or call 582-9983 or 738-8356. Westercon? V-Con? Whaa? West Coast Science Fantasy Conference (Westercon) is an annual event held in a location west of the 104th meridian, or Hawaii. It's a big deal to sponsor this event; Phoeniz, Arizona gets the honour next year (always held in July) while Vancouver once before hosted Westercon, 14 years ago in 1977. This year V- Con (Vancouver Science Fiction Convention) was tied in with Westercon. Put this on your calen- darfornextyear...V-Con 20 "Sex 'n Science Fiction and Fantasy'"-..very educational, I'm sure! It is being held at the Sheraton hotel in Burnaby, May 23 - 25, guests of honour include Michael Kube-McDowell and Elisabeth Vonarburg. Topics will include gender roles, relationships and all the usual con-stuff.. Jove that chain-mail wear. SF booksearch Hands down best store in town is white dwarf @4368 W.lOth (228- 8223). They've just moved one door over and the "old" store will now be stocking mystery books. Everything you could want, nice staff, one old Worthy of honorable mention is the Granville Book Company @850 Granville (687-2213). Great selection of SF related books and smack dab downtown. Open till mid- Somewhere in between is the Comicshop @2089 W.4th (738- 8122). Head to the basement for the SF, both new and used. The biggest selection of used books would be at the Book and Comic Emporium @1247 Granville (682-3019). Best bookstore cats in town! Alsofor secondhand SF (in a more genteel setting) is Michael Thompson Bookseller @445 W. Pender (682-6885). These are just a few shops...most bookstores have a SF section, so seek 'em out. By the way, if 'n you like a good mystery once in a while, check out Mystery Merchant @1952 W. 4th (739- 4311), this town's newest specialty bookshop. • Cybertext * Is cyberpunk dead? Six years after Neuromancer the question has been raised. Originally an attitude and a genre, it's become a heck of a marketing tool, these days. The following are some authors, books and mags (both pre and post "cyber" anything, lets just say they have "spir it") you may enjoy searching out: JG Ballard Atrocity Exhibition, Crash : This Englishman has written lots of SF and "shocking" stuff. These beauties are just two. This Fall will also see the sequel to Empire ofthe Sun. SF includes The Drowned World, Vermilion Sands. Rudy Rucker Software, Wet- ware (sequel), Transreal! (brand new, out soon, collection of fiction), The 4th Dimension: Toward a geometry of Higher Reality. Rucker is young and most famous for his mind...he's smart! His booksinclude both SF and studies of information/ theories. William Burroughs You bet! The writing is wayout. There is more to him than Junkie or Naked Lunch (soon on big screen dir. by Canada's own Dave Cronenberg). Try The Wild Boys or Interzone (collection of stories/thoughts). I®* Gurps Cyberpunk is one of many Steve Jackson Games publications. The cover states this is a "High-Tech Low-Life Roleplaying Sourcebook". It sure is. Tired of Dungeons and Dragon ? George Alec Effinger When Gravity Falls, A Fire in the Sun (sequel) Worldbeat cyber stuff set in 21st century Tangiers. KW Jeter Dr. Adder ...wicked! Surgical techniques prosper. Tom De Haven's Freak's Amour is simply amazing. Read it. An early work by this noted SF author. K5* Locus is really an "industry" mag, keeping people up to date with whats happening in the writing field: feature articles, tons of reviews, this is an all round excellent guide to "the B3S* Mirrorshades (ed. Bruce Sterling) Thee cyberpunk anthology. Spider Robinson Mindkiller, Time Pressure. And coming soon, Star seed, (the sequel toStardance) a collaboration with Jeanne, his wife. They read a passage from this @ Westercon. The Re/Search series These books are vital! Reasonably priced, nicely bound, the kind of subject matteryou don't see every day. Past books include/G_l_//_r<i overview, Incredibly Strange Films and the Industrial Culture Handbook. Due out later this year is Angry Women, a look at thoroughly modem babes. Semilotextfe} SF A collection of hard-edged SF. Many of the names mentioned here. It's a keeper! B3* Mondo 2000 is a marvel. Published quarterly on very slick paper, issue 4 includes Vancouver's own Skinny Puppy, high-tech computer info, The Lizard King's poetry, music reviews, fashion andR. Rucker's review of The Difference Engine. Rather studied with its glossily anarchistic manner (a journal for the disaffected wealthy?) Mondo nonetheless kicks bum. RT ON SPEC is "the Canadian Magazine of Speculative Writing", published by The Copper Pig Writers ' Society in Edmonton. Now in its third year, the mag presents all sorts of fiction I can only describe as "un- stuffy". Words and pictures. The Spring issue has lOstories, the Winter 91 issue will be focused on "humour". Contact ON SPEC at P.O. Box 4727, Edmonton, AB, T6E 5G6. William Gibson started it all v//Neuromancer which introduced us to the cyber-cowboy, Case (middle name antihero). Other books include Count Zero, Burning Chrome (10 short stories) and Mona Lisa Overdrive. Bruce Sterling Schismatrix and Islands in the Net are two places to begin. Bonus points for Islands having a female protaganisL Gibson/Sterling Their duet The Difference Engine came out this year. It explores the cyberpast of Victorian England. Now, when is that paperback edition due? 1ET Science Fiction Eye Published 3 times a year with issue #8 (Winter 91) now out. This is great! Printed in Washington, DC (PO box 43244, 20010-9244 — one year $15 US). 112 pages with articles by Sterling; Elizabeth Hand; EileenGunn's "Difference Dictionary," a helpful guide to terms/people circa the England of past; not yer typical music reviews; JG Ballard interview and review...and so much more! Nicely laid out, too. Beg your local shop to get this baby in. B3r* Va£u_isUKpoK_ca]/anarchis- tic fodder, but unlike so much of this type of writing, is presented in a way that allows one to truly give it a chance and enjoy. This poor-man's Re/Search is no longer published(?). I own #20 "Televisionairies" and #16/17 the "Psychic Terrorism Annual". A compelling mish-mash of clipped articles, collage, articles. Yo, if anyone has #21 the "Cyber-punk Handbook", can I borrow it? Stephen King. Just kidding! Actually, The Stand is a work of art, but c'mon Steve, more Castle Rock due this Fall? Bor-ing. "S" Technoculture. Communica- tions.technology and culture—that's the 90's, in a "nutshell." This book of essays range from Cyborgs to Rap music to the lessons of Cyberpunk and Japanese comix. Univ. of Minnesota press, ed. Penley/Ross. B3* Horizons SF 's the magazine published by the UBC SF Society (also the oldest English language SF mag in Canada). Fiction, interviews and columns. Get this, membership to the Society is nine bucks a year for students, $9.01 for non-students. Cool. For info write, box 75, 6138 SUB Boulevard, UBC, V6T 1Z1. Joe R. Lansdale By Bizarre Hands (short stories), the newest Batman! and an "Authors choice montlhy" for the very cool Pulp- house press (on which I may do a profile...neat books). Joe writes a combo of horror and SF, which means, as far as I'm concerned, double the fun. Definately an author "on his way up." "S" ForcedExposure 'shipperthan you orl could everbe. And we'll just let'em believe that. Primarily a music mag but the book reviews favour the weird. The last issue had a very thorough profile on Rudy Rucker. Buy Canadian! Eileen Kemaghan knows books. She helped subtext compile a list of local writers who specialize in SF/ Fantasy. VisitNevilleBooks@ 7793 Royal Oak Ave, Burnaby, you '11 find either Eileen or husband Patrick behind the counter. A given: these writers deserve many more words than what I've plunked down, consider this fist an "overview." Rhea Rose writes cyberstyle, had stories in past Tesseracts. Lisa Cohen has sold a few stories to Fantasy and SF the latest "Rain- bone" is not yet published. Mary Choo writes poetry, also had a story in Sword and Sorcerers #6. Don DeBrandt recendy sold his first Crawford Killian teaches English, his books include Gryphon, and Empire of Time. Eileen Kernaghan is quite modest Three award-winning novels, poetry and fiction published in various mags. Sean Russell The Initiate Brother is set in the mystical Orient, SF artist Michael Whelan did the cover! Bo- The Robinson's & William Gib- ■ -.■ i ""4-, .-_ ' IJJ »:>, a'A'.'V [w-'-vi.i1.-.' - ,-"■■, m ^.pa :'*ta^ %^-va-a^ r u * * ~ Ever wonder what people are reading? I do. William Gibson, recently seen in People mag, took time to write and tell subtext. V'fc_3a ''v.y*': CITY OF QUARTZ by Mike Davis (Verso, 1990, hardcover, mine cost $24.95 U.S. at Book Soup on Sunset). Subtitled "Excavating the Future in Los Angeles," this is an inspired rant on the nature and meaning of the world's first 21st-century city. Davis is a native Southern Californian, a leftist, and writes about LA. the way JG Ballard wrote about automobile accidents. In spite of a few tedious lapses into ideological shrillness, this is the sharpest book available on the topic. One chapter, "Fortress LA," is worth the price of admission alone, dealing as it does with the privatization of public space (i.e. the park-into-mall syndrome and private armed-response security forces). Make no mistake, Davis loves the place passionately; you have to, to write about it this intensely, this darkly. SUTTREE by Conmac McCarthy (Vintage Contemporaries, 1986, trade paper, $6.95 U.S., and probably out of print). This book is so fine, so funny, and so unbearably sad that I really can't think of much to say about it McCarthy is a brilliant, amazingly neglected Southern writer, a consummate stylist with one of the largest active vocabularies in the English -speaking world. Set in the early 50's in Knoxville, Tennessee. A man named Hazelwood declines a drink of moonshine: "The last time I drank some of that shil I like to died. I stunk from the inside out. I laid in a tub of hot water all day and climbed out and dried and you could still smell it I had to burn my clothes. Ihad the dry heaves, the drizzlin shits, the cold shakes and the jakeleg. I can think about itnow and feel bad." MONKEY BRAIN SUSHI edited by Alfred Bimbaum (Kodansha, 1991, hardcover, $18.95 U.S.) Cutting-edge anthology of contemporary and decidedly weird-ass Japanese fiction. Everything from "TV People," by super-star novelist Haruki Murakami (author of the wonderful A WILD SHEEP CHASE, also from Kodansha) to Amy Yamada's seamlessly claustro S&M fable "Kneel Down and Lick My Feet." CYBERPUNK: OUTLAWS AND HACKERS ON THE COMPUTER FRONTIER by Katie Hafner and John Markoff (Simon & Schuster, 1991, hardcover, $22.95 U.S.) Hafner and Markoff didn't want the publisher to call this book CYBERPUNK, but what can you do? This is an extremely intelligent examination of thehackersubculture, and I particularly recommend it to anyone who imagines that real hackers are anything remotely like the leather- jeaned consoled jockeys of cyberpunk fiction. Hafner and Markoff capture the essence of a small group of people who get along better with telephone systems than they do wilh other people. This should sell like hotcakes when the paperback comes out. ©E_^s5S_3 son, bom Americans, now proud to call Vancouver their home. Lucky Leona Corn's "The Y Chromosome" can be found in Tesseracts 3. Michael Coney Eves in Sidney. Orig from the UK, he's written 16novels, recent work includes comic Arthurian tale Fang, the Gnome. Robert Charles Wilson is from Nanaimo, work includes Gypsies. Teresa Plowright wrote Dreams of an Unseen Planet. Donna Farley writes short stories and had a story in the anthology, Catsmagic. Have you read Tesseracts ? There's three of 'em to choose from. Volumes of short SF stories written by Canadians. The latest one 3 has lots of speculative fiction from over 30 writers. Edited by Candas Jane Dors- ey and Gerry Truscott. ^"M_____Z_:'" shows Kay, as she goes on a fateful "medicine run". So you're in trigued,you'dlike to read Cliff's book. Well, er..um...you can't. Atleast you can't until the book is reprinted. And that'll be either when Cliff scrapes together the bucks or some publisher wakes up and grabs the chance to print the most innovative young writer around. I doubt we'll be waiting long. -JW, .„^-___r. Who the hell is Cliff Burns? Cliff Bums was an invited guest at Westercon 44, the recent Science Fiction gala at UBC. His psychological horror stories knocked me on my butt. I don't think of him as an SF writer, but at times there's a thin line between horror and science fiction and heck, if it's gonna pay the bills...Cliff s one SF story, The Invisible Boy can be seen in Tesseracts 3 the latest collection of hot Canadian SF. Cliff isn't exactly a household name; amere 14 people came to hear his reading @ Westercon (mind you, computer guru Steve Jackson was speaking at exactly the same time). Go figure. An impassioned reading from this modest young Canadian deserved a larger crowd. I doubt Cliff lost any sleep over the situa- Check it out: 60 short stories published in greats pulps such as Grue,Iniquities (excellentnewpublication). Gauntlet and Midnight Graffiti (theSpring 90/Stephen King special). Then a recent self-published collection of 19 short stories, Sex & Other Acts ofthe Imagination sells all 500 copies lickety-split, as they say. Mark Ziesing, publisher and purveyor of cool gives the book a solid boost with these succinct words "Great short stories by a new favorite of mine." The stories? From the wickedness of Watt Disney in Hell (I can see the lawyers approaching now!) to the emotional disgust of a young kid realizing that his mom's crazy (very sad) in the The Strange Music, Cliff keeps his reader locked onto every word. Does that sound hokey? S'only the truth. In Carl we view a bizarre family photo album. Sex tet: A Horrific Medley of Old Favour Ues is grimly fascinating and disturbing: No matter how you feel about the topics —I was a lil' queasy, actually—the writing is stunning. Four of the stories in Imagination deal with Nuclear War and it's aftermath. The Cattletruck lets us hear a conversation between a little girl and a maimed "survivor" of an atomic blast. In The End we meet a man so shocked at his impending demise he continues to go about business, bill-collecting from the neighbours. The final story The H'tbakusha CLIFF BURNS Walt Disney in Hell—A Trilogy "I'll see you in Disneyland." —Richard Ramirez ("The Night Stalker", a serial killer) to spectators as he is led away after receiving the death sentence. I Walt Disney is building amusement parks in Hell. Rollercoasters cascade into loop-de- loops lined with glistening razor blades that eviscerate the riders. Patrons wait patiently to enter haunted houses boasting real ghouls, flesh eaters and blood suckers and vivisectionists that giggle and caper through the corridors, slicing and dicing with insane abandon. Ferris wheels constructed without the benefit of safety bars upend suddenly, flinging screaming people to the ground. Conscientious employees sweep up the mess, hose down the rides, prepare for the next horde of sinners. II Walt Disney has taken a male lover, a young boy who hung himself with shoelaces while awaiting trial for killing his parents with an ax. The kid gives great head. Walt likes it when he goes down on him while he's working on his desk, poring over blueprints for sadistic new rides. After Walt comes the kid has to put on a set of mouse ears and in falsetto squeaks tell Walt what a wonderful, big cock he has. in Walt Disney and P.T. Barnum talk shop while drinking a concoction known as "Old Nick". Walt thinks the Devil thinks too small and Barnum agrees. They bicker on conditions for the merger, finally conclude negotiations with a handshake. The Devil will be deposed and a massive amusement park complex built that encompasses all of the regions of Hell. It will take eons to accomplish but, as Walt looks at it, when he was living he started out with a skinny fucking mouse and a dream and forged an empire, Why shouldn't history repeat itself? Hey you! On Tuesday, September 24th go to SMASH gallery .pay a measly 5 bucks to hear POETRY (Gerry Gilbert/DCD/David Bromige and waaay more) and see the film GANG OF SOULS (avec Richard Hell, M. Faithfull, Bill Burroughs et al). The festivities begin at 7:30. A double-whammy of fun...After you recover from that event, on Thursday, September 26 you can see/hear the wonderful Susan Musgravc (very cool!) and Robin Skclton (who's a Witch! Equally cool in a different sorta way) read together at the Art Gallery (3rd fir annex) 7:30 pm, or separately She (Britannia library 1:30), He (Joe Forte branch, also 1:30) THE MINT IS A TERRIBLE THING TO TASTE: A TRIBUTE TO MINISTRY FEATURING: AND ~ WIN©!WALR£ft Now available at Scratch, Track and Zulu records, or by mail ($4 PPD) from Mint Records, Inc., #699-810 West Broadway, Vancouver, BC, CANADA V5Z 4C9 Elvis Love Child Loose The Smalls Welfare Bash The Cruel Elephant Wednesday 24 July If this gig was indeed held for welfare patrons, then they all must rot on ICHIBAN, budgeting towards PVC pants and crashed velvet bustiers. Yeah, the mystery meal was rice n' peas. Okay I got the mandatory catty Discorder shit out of the way...the 3 bands were, on the whole, good. A lot better than I expected since some of the gig posters boasted it would be "better than fucking." The Smalls opened up with their own metha- done-injected brand of Zeppelin homage and bastardized Black Sab bath songs. Loose was on second. They possessed tight spiraling guitars and a Jack Ednino sounding lead, who forced the attentions of would- be sceptics and insincere fashion plates by swinging his black hair in their faces, coming as far as mid- piano bar to touch the souls of would- be fans and proving his sincerity by ending the set in a pair of tiny leop- ardskin panties. If this was the first gig Loose played, they proved to be excellent stage personalities and worth checking out. The headliners, Elvis Love Child are definitely worth checking out They started out on the club circuit playing heavy psychedelic grungy loudness and they've gotten to the point now where they never sound like 'just noise' but have a continual upbeat approach. And they' re cover of "In N' Outta Grace" was cool, a Mudhoney tribute might be almost taboo for some bands but Elvis Love Child carried it off well. I wonder if their 60's-movie-hypno- tizer sets will return, it looked something like the inside of a cave...and all three are local bands too. Anonymous Front Line Assembly U-Go-ln-Sekt Graceland Thursday 25 July Vancouver's general lackadaisical- ness strikes again. I think it has a lot to do with the fact that people don't know how to deal with an aggressive industrial band, we're used to Skinny Puppy's performance art, which is not really interactive. Opening act U-Go-In-Sekt is comprised of Mike Victory, who is on Spiral Records under the name of Sect, and Steve Rosen. An intriguing blend of rhythm, noise, and distorted guitar and bass, this, unfortunately, was a one-shot collaboration. But Sect will be playing Vancouver in the Fall as part of the Spiral Records showcase. Front Line Assembly disproved those who think they're a Puppy rip- off; in fact, I wondered ho w Bill Leeb stayed hidden as a Puppy keyboardist as long as he did. The nickname 'Bouncing Bill Leeb' is totally appropriate—he careens around the stage, flailing his arms, looking like a boxer without a partner. Rhys Ful- ber did most of the keyboard duties and also some truly amazing percussive work, including banging on sheets of metal. The duo were joined by drammerChris Peterson who added a fuller feel to the music and also showed that electronic bands do not just flick on a switch and get instant music. The bulk of material was from their latest album, Caustic Grip, which included a strange, guitarless "Provision" and my fave "Iceolate," with all the songs were 'live' sounding—very little was pre-programmed. There seemed lo be a small core of people going crazy, but most people just seemed to nod their heads—maybe stupefied in the face of such aggression. Yes, Front Line didn't do an encore, but apparently sometimes they don't do encores (which makes them a promoter's nightmare). People assured me they thought Front line was great Hopefully they'll show it more physically next time Front Line Assembly plays here, which should be, oh, about two to five years. As well. Front Line should give the audience more time to react, the momentum was cut by the shortness of the set. June Scudeler Meat Beat Manifesto Consolidated Commodore Wednesday 31 July So, like, I'm on the bus trying to figure out whether or not I'm gonnalikethis whole crusading rap stuff Consolidated is gonna pump out tonight. I am a fan of their music and behind what they stand for, but I am thinking that the show is basically preaching to the converted, since most of the culprits involved in the bullshit which is sending us down the toilet probably won't be there tonight I am also anticipating their way of hammering their messages home are going to cause a backlash-type reaction among the more complacent members of the crowd, basically voiding their whole efforts. Personally, I feel Billy Bragg has more of an effect on a crowd's consciousness, with his common sense approach, than Consolidated will with their scattergun- you're-aU-guilty style. But they had their effect. Natch the bus got me there late, so I got in after the show started. I glanced around and noted the crowd was in solid groove mode, jackin' their bodies while Consolidated hammered their words home with a sonic mallet. Unexpectedly, the drums were Uve and wordmon- ger Adam Sherbourne abused a guitar and bass for most of the set. The bass heavy mix made the words tougher to make out than it should have been, but the crowd got the messages. The video montage they played during their set was heavy, driving home theirpoint. It was hard to discern the crowd's sincerity in their agreement with Sherboume's introductions to the songs, since many of the people were raising a fist with one hand and holding a Labatt's orMolson's with the other. About halfway through, the conscious party stopped fora well made, but disturbing, anti-meat video, which intercut MacDonald's ads with slaughterhouse film. After the show, the collective had their now famous Q & A session. This is where I realized how fucked up a lot of people in our scene are. While many pertinent points wereputforth (usually by women), there were so many assholes (usually men, surprise, surprise) grabbing the microphone and spewing out nonsensical, redundant responses our governments have been handing out for decades. Maybe some over their heads. The pamphlet table was a great idea, and the group knew about the local problems, which gave their whole concept less of an Ameri- Meat Beat Manifesto was obviously the Fuck Issue, "Let's Dance" part of the show. And they sucked. It was like hearing remixes at a disco. No charisma at all, not enough life for a Uve show. The dancer was good, however, and it would have been cool to see their older shows, which had a more theatric bent. Perhaps I was just overloaded from theintenseness of theCon- soUdated set. I came out of the show wiser, of course it's hard for none of the facts to sink in. I beheve ifyou can focus on one of any of the screwed-up things going on in the world, and set about fixing it, you will get much further than trying to do everything at once but you must be aware of all that is wrong. This is what Consolidated is about: Consciousness, not Propaganda. Mike Mofo McClean Superconductor Lung Cruel Elephant Saturday 3 August Perhaps I'll be wasting everyone's time with this...but I've got a theory that will put this entire show into perspective. Briefly, the problem with pop music is that the artists, having reaUzed that their songs shouldn't run more than 2 mins and 50 sees, that stealing ideas is fine, and that you should be able to sing or hum the chorus of a song, have left it at that. The unfortunate result is aU too often 'Have You Ever Been Mellow.' Conversly, Rock, having drunkenly stumbled over the ideas that guitars sound better louder, and playing with aggression and excitement are good things, nodded, belched and left it there. The result here is something Uke Joan Jett's last four or five releases. The Answer is to combine the two (for example Dinosaur Jr.' s cover of the Cure's "Just Like Heaven"). Perhaps get a band with a drummer, two bass players, a back up singer and 6 guitars and see what happens. Theoretically speaking then, this show was a success for me before anyone even bothered to set up the fake palm trees, neo-classical columns, or smoke machine. Soeven if they thought they were kidding by taking on one and half hour's worth of songs by your favorite 'pop artist,' I say they're not. Whether by accident, or bigger accident, the pre - sentation, scale, volume, and level of distortion which they employed served to nicely illustrate my theory. The sound of Superconductor doing aU those half familiar tunes gave them more than a gUttering appear- ence of Mr. Neil "forever in blue jeans" Diamond himself could have lent to the proceedings. Opening act Lung (who billed themselves as their Smiths' tribute band 'Wall to Wall Shag') also fit into my theory (but then I'm writing this review and if I can't get it to make sense I'm in serious trouble). Lung's attempts at the Smiths were competent but lent nothing new to the songs. Perhaps they sensed this because they abandoned theirattempt to fuse genres and launched into a spirited set of their own material. If I'd never seen Sonic Youth I'd think Lung were Godhead, as it is, they're at least God's left knee cap. Does fame, fortune, recognition of latent genius, and an apper- ance on the Arsenio HaU show await these groups? I have no idea, I just come up with the theories, it's up to them to Uve up to them. Pat Carroll Beowulf Asian Centre U.B.C Saturday 3 August Metal clad warriors, blood swilling monsters, cold, gut-stained swords, lusty maids and iron-hearted Danish princes? The latest on-stage antics of GWAR? Hardly. These spectacles all belong to the oldest "EngUsh" language musical/Uterary work wehave it for s( in extant form—the saga of Beowulf Benjamin Bagby, an early-Anglo- Saxon musical specialist, was brought to Vancouver last month to spin this heroic Nordic tale of brave combatants, savage grey landscapes, popping tendons, gnashing teeth, joyless fens, flying gobbets of flesh (what the heck is a gobbet? Do I want to know?), and blood lusting "shepherds of sin" (i.e. monsters). Singing, talking, crying, and shouting in the ancient Anglo-Saxon tongue, Mr. Bagby put on an electrifying performance. I could not understand a single word of the haunting language despite it being the direct ancestor of the strangely successful English language (I did recognize two words though, "blewd"—"Blood," and "god,"both used weU). However, Mr. Bagby's wild gestures, emotions and characterizations brought the old story to vibrant Ufe. He accompanied himself on a primitive six string lyre (of which no originals exist intact) and managed to coax a wide variety of mood setting musical textures, stopping to animate a particular scene, or to address the audience directly as the ancient bards, who were both entertainers as weU as musicians, must have done. Over a thousand years ago when Beowulf was top of the bops, e horrible, smelly, and cruel. (ActuaUy a lot Uke the men and women come to think of it!) Beowulf, studUest of them aU, is moved closer and closer to his brutal encounter with the nasty Grendel, an ill-tempered creature, who, because of his resentment of humans for not liking him, would sneak out of his swamp hovel at night and slaughter the soldiers sleeping in the great wooden haU in the nearby town. When the two rivals finaUy meet, the saga of Beowulf also features another first in the history of the EngUsh language—the first documented reference to an all- star wrestling move. Beowulf even- tuaUy defeated Grendel by putting him into a weU-managed arm-lock which the woeful monster only escapes from by ripping its own ann oul of its socket. One, two, three, you're outta there!! The fuU Beowulf saga would take between four to seven hours to perform— the famous Grendel section is only part of the story. The ancients were highly tuned to the lyrical and poetic nuances of the original, and thus could probably hear and envision things we cannot. However, the mystic tongue of the Anglo-Saxons and the age old tale of ible. GWAR could leam a few things James Boldt THE LEGENDARY PINK DOTS Graceland Tuesday 6 August Trying to describe the Legendary Pink Dots is pretty near impossible — "uh, they're kind of psychedeUc, Pink Floydish, kinda trippy...weU, you just have to experience it yourself." The show was an experience, but I have the feeling the audience was expecting something different. What I don't know. People seem to want bands to keep them amused by laser shows and videos; the whole idea of the Dots is the exact opposite, use it as a time for introspec- Front man Edward Ka-Spel looked like a gnome from heU. He pounded his keyboards like a crazed organist accompanying a silent horror movie. His vocals lulled people into safety, then he screamed like a banshee. His sense of humour did come through though as he held up a doU caUed 'Princess Coldheart' and told the crowd not to make her mad because she kiUed. Here, he reeled off some ridiculous number of victims, and that was just since Seattle. Musically, sometimes it did drag, but the Dots require an open mind and patience. The Uve saxophone was an intriguing angle, as was the guitar. Maybe what would have made the show better was a more intimate setting— the Zoviet France show at the EcUpse springs to mind...maybe next time. June Scudeler Big Drill Car Olive Lawn Rocktopus Paste Arcadian Hall Sunday 18 August Let's cut to the chase. I missed the first three bands because it was too fucking hot that night and the last place I wanted to spend it was in the Arcadian haU, which, when packed with 300 or so sweaty pop-core- heads, is Uke walking through a drive-in car wash when the wax roUers are on. If that's too difficult to comprehend, then read this while standing under your Waterpik with aU of your clothes on and the hot knob amped. Either you get the picture or your issue of Discorder is Ulegible. So, I know it's not fair to the 3 bands that I missed, but had they been playing in the vicinity of a Wet Banana I would have been there with beUs on. Sorry guys. Big Drill Car, on the other hand, I did see. This event, a gig, so much as it was a night of miracles. During BDC's first song some dude lost a contact in the carnal commotion of the mosh pit So you figure, that's it, it's gone, right? Wrong. The kid comes up with it after groping around on the floor for a while. Pops the contact in his eye and he's at it again. Big Drill Car tested the water with tracks from their new CD, Batch, and most couldn't teU the difference between those and their older songs. This is good. When you have a formula that has Uttle boys and girls going "Goo" and also has them scraping out truckloadsofcashforyour product , be happy. A healthy dose of past classics and a stirring, SCUD missile attack version of Cheap Trick's"Surrender" proved that Big DriU Car was indeed nitrous-oxide A Moodyville Moo-Moo Nardwar presentation featuring: Fugazi The Fastbacks Me, Mom & Morgentaler The Smugglers 10 Feet Tall North Van. Rec. Centre Tuesday 20 August It's reassuring that even after 16 Nardwuar presentations he's managed to keep the momentum up and continuaUy blows the doon off the respective venues. And that is saying a lot when the venue is a hockey rink and listening to the bands is like hearing your best friend's mom fart in the bathroom over the telephone. BeUeve it or don't, but the sound at the North Van. Rec. Centre was worse than (cringe) 86th St 5 bands, 6 bucks, lots of whiny kids, one ambulance, 3 arrogant quincy-punks, put in a hockey rink until warm and slightly damp. If you missed 10 Feet Tall you were lucky. This band has nothing new to offer. A bunch of longhair poseurs playing guitars like they were hockey sticks, striking their best Warrant demi-metal-god stances and swinging their hair in unison. This either made bile rise in your stomach or, in some demonic way, made you want to play ringette. The Smugglers, on the other hand, were a humble gang of musicians. These guys were neither good nor bad but who would've thought that the Beachcomber cast was this hard up for work. Toques, toques, toques! Thank them for at least having the decency of playing a very Me, Mom and Morgentaler were next and the first of the bigwigs. A pleasant blend of ska-core that had all skanking up a storm. One unfortunate gent spht open his head during these guys and he alone was a Gwar show. Blood everywhere. But the St. John's people were on hand to administer tourniquets and various other pseudo-bondage type devices and before you knew it, they had the kid walking again. It was a miracle worthy of televangeUst recognition. It's scary what they can do with a roU of hockey tape and a flashlight Morgentaler plowed on the while and were as catchy and pleasing as their name would suggest. The Fastbacks took the stage. I've seen these guys before and then they did nothing for me. This night I missed them because I was busy not listening to them. So, because I didn't hear them, I can't really judge their performance, but I'll bet they sounded the same as before. Fugazi! I must make it absolutely clear that there is no way that I can do justice to a Fugazi gig. First, because I don't think my writing is worthy of capturing what Fugazi is about. Second, my opinion would be biased as I have a shrine built to Fugazi at home. So what can I say? Fugazi! PoUti-core. Not the kind of politi- core that hits you in the face like a Braun iron but the kind that makes you go, "Yeah, I dig what they're saying." Those who could accept Fugazi for being something other than a slam band got more than 6 bucks worth of concert that's for sure. The want is there. The need is there. Straight-edge! Fugazi! Heaven! Take a bow Nardwuar. Scooter. UPDATE: ^VDoog Flutie^ ^Mike Zeck^ W^'W Disn8>_™es > X HAW 'B.C. Lions OB -m____| «■■■—_- ■ . ^jiilVanHor^ Punisher Mini Series Captain America Master of Kung Fu Deathstroke (covers) Death ol Kraven $1,000 In DOOR PRIZES including Full Run of McFarfane Amazing Spiderman Hotel Vancouver > BC Ballroom ~ 900 West Georgia 10:30 - 5pm. Admission: $3 . 12 & under: $2. Forinfonnation&dealertablereservations.call: (604) 682-3019 Dealer Tables: $35/40/45 Proceeds from Artint. .utographt to B.C. Childrrn.' Ho.plt-lt SUNDAY SEPT 1ST, 1991 I NEED IT ON ROBSON Now serving coffee and salads too. 1175 Robson 681-1233 1937 Cornwall 732-8840 i_a&5_G_p© The Grapes of Wrath These Days Capitol/Nettwerk The Grapes of Wrath sound a bit more like Led Zepplin than the By rds or Simon & Garfunkel on These Days. The jangly guitars of Tree- house are in little evidence and the lush sound of Now and Again has been expanded into a fuller sounding album of nifty riffs and well- defined guitars. Most of these developments are to the credit of producer John Leckie, whose previous work with the Posies, and to a lesser extent XTC's psychedelic incarnation The Dukes ofthe Stratospheare, has carried over to the Grape' s latest project. The blending of their melodic, acoustic-orientated songwriting with a heavier, guitar-orientated sound works well. Good examples of this are "Days" and the album's closer, "Miracle." The Beatles influenced melodies and harmonies are captivating and haunting, yet those qualities are only magnified by a full mix of acoustic guitars, piano, organ, and layers of electric guitars. Even when the amps are cranked full-up, as on "A Fishing Tale," the trademark Grapes of Wrath song- craft stands out over the hard-driving, pulsing rhythm (and the accordion is a nice touch). If anything. The Grapes of Wrath are sounding more mature on These Days, as their talents, in both writing and performing, are exposed in greater detail than in the past. More focused and energetic than any of their previous efforts, this is the finest showing of one of our best Cameron Riches Coil Love's Secret Domain Cargo/Wax Trax Well, I can unequivocally say this is dead brillianl. Love's Secret Domain is an intoxicating mix of the f amihar l and the unexpected, Spanish guitars i pop out of nowhere. The whole CD has a feeling of warmth to it — the I sun of such climates as Spain, the | Australian Outback, or the Far East. L Love's Secret Domain with I two short bits of whimsy, "Disco Hospital" and "Teenage Lightening 1," then goes into "Things Happen," an unusual tip of the hat to French cabaret songs. Next up are a quartet of instrument-Is—"The Snow" is house music that is beautiful in its sparseness, "Where Even the Darkness is Something to See" and "Dark River" are both highlighted by didgeridoos, and "Teenage Lightening 2" is an indescribable weirded out hip hop/dance mutant experience. The single, "Window Pane," is here in all its my s Li cal magnificence, as well as "Chaostrophy," an experimental ditty with oboes, violins, violas and radio snippets. Ex Soft-Cell alumnus, Marc Almond, sings on the album's weakest track, 'Titan Arch," which is too sickly sweet But the album's title track is last and is a paean to the madness of love— you're not sure if the singer is in pain or is experiencing supreme pleasure. Love's Secret Domainis a must- June Scudeler The Jazz Passengers Live at the Knitting Factory Knitting Factory TheJazz Passengers' areaNew York jazz group co-founded by Roy Nathanson & Curtis Fowlkes. They, and the other members of the Passengers, have been part ofthe Lounge Lizards for many years. The Jazz Passengers music is much different than the Lizards, being closer to improvisational jazz, with lots of smooth but crazy solo breaks liberally scattered throughout their tunes. They are really great showmen Uve (I had the pleasure of seeing them at the Clutch in' 89) and this CD captures their performance from three live shows at the Knitting Factory in New York. This CD has a really smooth flow to it but, as I already mentioned, it has a lot of chaotic improvisation in it, so it will probably only appeal to you if you like jazz music in general. I really like it myself, but for you really serious audiophiles, be warned, there's some distortion on one of the homs that pops up throughout the whole CD, something most people will be able to see past. A Voice of Dissent The Fall Shift Work Sinister/Polygram The Fall' s newest release is a lot like their last one—it grows on you. Mark E. Smith's vocals are still in fine form (which means he still can't "sing"), and the lyrics are the usual inventive Fall quality. But the music lacks a bit of the raw simplicity and, to use a highly overrated word in the music biz, urgency. On their last album. Extricate, the band deliberately tried some new sounds, and after climatizing myself to them, I felt the album was a success, especially with songs like "Chicago Now," "The Littlest Rebel," and Coldcut's "Telephone Thing." On the new album a few songs stand out, notably the delightful "Alot of the Wind" about all those artsy, pony- tailed types out there (Mr. Smith has a thing about pony-tails as on one of his albums he lists the recording technicians as "a bunch of guys with pony-tails"). However, overall, this release is not as biting as The Frenz Experiment, for example. But Shift Work is still Fall quality and Mark E. Smith is still the coolest guy to ever dress in department store actionwear and sing off key and get a way with it. J. Boldt Lustmord Lustmordand Paradise Disowned Dark Vinyl These two releases are the aural equivalent of Clive Barker's Books ofBlood. The first of the two, a self- titled CD with tracks recorded Uve during '80-'81, has an, uh, interesting note on it— "all recordings were made at excessive noise thresholds, indeed it should be noted N. Duster's ears bled through the EMS sessions." And thanks go to such luminaries as Chris and Cosey and SPK's Graeme Revell. Paradise Disowned was recorded in '84 in such appropriately austere locales as Chartres Cathedral and a cave. Both of these CD's are truly evil sounding, not the bang your head variety, but a subtle, creeping unease. A good example of this is "Sibling" from the Lustmord CD, which features such uplifting samples as "Sometimes I'm scared to live/ Dying is what's easy," and sounds of children and saws, which takes on decidedly ominous overtones: an ominousness that somehow never becomes cliched as there are enough twists and turns to keep the listener in its net, Lustmord is almost 74 minutes long, so all the oppression can be hard to swallow in one big gulp unless you're in a particularly murderous mood. Paradise Disowned is similar in feel to Lustmord, but has more atmospherics, such as chanting, and is quieter, not as blatantly wicked sounding. It's certainly not the feel good record of the year. The standout track is "Comahon Q.Q. Coma- hon" which bludgeons you into submission with its relentless thudding beat and short bursts of static, percussion, distorted Vocals and Native Indian chants. These two CD's are not recommended for the faint-hearted to Usten to late at night, but if you' re of sterner stuff, enjoy! June Scudeler Siouxsie and the Banshees Suspicion Geffen There's a soft spot in my heart (brain?) when it comes to Siouxsie Sioux. Its roots Ue deeply and can be traced back to one of those inexpU- cable early pubescent crushes, now nearly two decades old and still lingering in my sub-conscious. Siouxsie's new single "Kiss Them For Me" has gotten me excited aU over again. Siouxsie and her Banshees got themselves all hip- hopped up on this fun Uttle ditty, they've even thrown in some decent doses of dulcimer and tabula to make this a happenin' Uttle pop bon-bon, even the "Johnny-come-lately" stations have caught on to it. Suspicion, the album foUow up, is...weU...err...uhmm..I'm sorry to say... mediocre at best. Is it the switch from Polydorto Geffen? Is it merely old age? Do they have kids now? ...and so close on the heels of theexceUent/'eepr/ioH'andtheCrea- ture's Boomerang...pity. Only half this album is acceptable. "Kiss Them For Me" is by far the best track. "Fear of the Unknown" is vintage Siouxsie, circa Kaleidoscope, and is a welcome regression. "Silly Thing" is quite catchy. "Got to Get Up" has a...goUy gee... it's a wonderful lifc.kind of spunk that's easy to get carried away by. Another decent track is "Silver WaterfaUs." As for the rest, weU... they're not good at aU. They suffer from a lack of lyrical as weU as musical finesse and inspiration. The melodies sound Uke I've heard them in a previous incarnation. The lyrics are sadly limp and sodden, even Siouxsie's cool vocalizations can't make up for their deficiencies. There is also a certain absence of the musical detailing and productional em- belUshment that I've come to expect from Siouxsie and her charges. The songs "Drifter" (boring), "Little Sister," "Shadow Time" (thrash that Lib- eracepianobit), "Softly" (the worst tune by far)and "Ghost in You" (stinky title, but some lyrics that deserve better than this), are just not up to scratch by any measure. Suspicion smells, feels, tastes, and sounds suspiciously Uke a contractual ob- Ugation fulfilled (heUo there Mr. Geffen). A killer single for sure, but only an EP's worth of okay material. The rest should have ben left on the editing floor. After having said all this I feel sUghtly guilty..J'm sorry...but reaUy.-.bleah. Peter Sickert G. W. McLennan Watershed Beggar's Banquet No one could have asked for a more unpretentious prolific pop band than the Go-Betweens. 16 Lover's Lane, a sweeping album that would mark the group's curtain, was their finest accompUshment. But just as these Australians matured into a band of great character and class, after ten years, the Go-Betweens were no Fortunately, the group's main frontman, Grant McLennan, has remained productive. In an odd musical hybrid, he collaborated with The Church's Steve Kilbey earher this year for a project called Jack Frost (the two produced some brilliant, though subdued, material together), and now comes G.W. McLennan's first solo album, Watershed. A lot of the ingredients here are reminiscent of the Go-Betweens: soulful melodies fueled by a bouncy acoustic guitar, lyrics that are intimate, introspective, and sometimes surprisingly twisted ("He hung around her like a baby sitter/ She rubbed his face in kitty Utter"). And, of course, there's McLennan's, um, distinctive voice. Actually, he sings as weU as writes and performs, with such sincerity that it makes his quirky voice that much more affectionate. However, the Go-Betweens worked so weU as a group that he seems to have lost some fine backing. A few ofthe cuts on Watershed, Uke "Haven't I Been a Fool," "Haunted House," and "Dream About Tomorrow," sound Uke great leftovers from 16 Lover's Lane. But largely, the album plays Uke Grant McLennan with An Anonymous Backing Band (one reason "Putting the Wheels Back" on sounds so hor- rendously cheap). For diversity, there's the country-tinged "Just Get That Straight," "Broadway Bride," and "Stones For You" are as haunting as his Jack Frost contributions. For the most part, Watershed is a wonderful album. It's just that it's only a great work from someone who could be exceUent. Unfortunately, we may not see that part of McLennan again until he finds some coUabora tors, like the Go-Betweens or Steve Kilbey, who can complement his striking talents. Cameron Riches Heathen Victims of Deception The first six songs on this record involve the willingness ofthe greater populous to accept reUgious practices without scrutiny— kind of an overdone theme. But the music that is incorporated inlo the dehvery of the message is worth Ustening to for its own sake. A lot of catchy riffs, played through a lethal guitar sound, and great vocals help this release to be the one I would suggest for any fan of aggressive music. How can you go wrong with a band who shows so much technical skill, musical diversity and integrity? Answer you Braden Zrno Fela Anikulapo Kuti Original Sufferhead Schanachle This man and his exceUent band put on an exceUent Uve show here last month. Although many may have found his dialogue between sets uncomfortably sexist and long-winded, it was a great show fuU of great Original Sufferhead is a re- release of material from '81 -'84, and two of the tracks, "Sorrow, Tears and Blood" and "ITT," have a very similar feel to two other Fela songs: "Unnecessary Begging" and "No Burredi," (sorry, I don't know the name of the album that these are off of). Fela songs are always very long, rarely ever less than 10 minutes and sometimes more than 20, but that's definitely a good thing with the irresistible grooves this man lays down. And the message is as strong as the groove: to resist the abuses of authority, to treat the poor and oppressed with respect and compassion, and to fight the corruption of money and poUtics with our voices and our understanding. Deep throated proselytizing amidst the swirl of an Afrobeat/jazz/funk, guitar and hom lines entwining about each oth- A Voice of Dissent Anacrusis Manic Impressions Metal Blade Records A new wave in heavy metal thrash... Anacrusis consists of four talented musicians (Kenn Nardi/vocals and left guitar, John Emery/bass, Kevin Hiedbreader/right guitar, Chad Smith/drums) who create a very heavy death metal sound. Ken Nar- di's exceptional voice, with which he sings intelhgent, thoughtful lyrics, gives the band a hardcore effect. Their riffs can only be explained as ranging from very speedy to a more slowed down grinding sound. Although Anacrusis is a thrash band it does not neglect the meUo aspects of thrash, with a lot of acoustic guitar, heavy bass, and a good drum beat. The music is great. Comparing Anacrusis to other bands, I would have to say it's a cross between Death Angel and Slayer. Anacrusis—definitely to be a contender very soon. Jayson Prefontaine Xentrix Dilute To Taste Road Racer This release consists of two studio tracks and four recorded Uve. The two done in the studio reflect a musically talented band with a lot of flowing tempo changes and weU- structured solos. Between the two tracks are modifications done to both the guitar and drum sounds to fit the atmosphere of the two songs. The other side contains some excited, and very vocal, fans along with a cover of "Ghostbusters." The guitars harmonize in an Iron Maiden fashion, but there's a rawness here that Maiden has never had. The mediocrity of the recording is the only dimension that didn't appeal to me about Dilute To Taste. Do you Uke British Metal dehvered with fury? Welcome home. Braden Zrno < FUTURE BY TARA SLOAN Here is the latest edition of Future Rap. With the release of the kickin' film Boyz'n the Hood came the slammin' compilation with some real dope stuff! Sure there are the few tracks for those R&B fans, such as: "Me and You," by Tony! Toni! Tone!, and "Just Ask Me Too," by Tevin CampbeU, but then comes the REAL tunes by such brothers as Ice Cube, Compton's Most Wanted, 2 Live Crew, Kam, and Main Source. The production is definitely on the up-and-up, and fly ballistics are being dropped. Even the ladies, Yo-Yo speakin' on the issue of her Down-Ass Mama, and Monie Love urgin' all to "Work it Out," the vibes are generatin' and evidently per- petratin' the soul. If you are looking for a great compilation with all "the latest," (and there are 14 tracks), bustin' their rhymes, then this is a pick-up not to drop! Boyz'n the Hood paints a picture of the rough conditions that those less fortunate must face in certain areas. It reconfirms the issues raised in the movie which, then, one should get a chance to check out and absorb. DJ Quik... thenamesound vaguely familiar? Quik is the Name, is the title of this brother's album. This 1991 release contains 13 hits and is on Profile Records. The lyrical expression isflowin', there is a wide variety in styles, the tracks are all produced well, with lots of breaks and changes in speed and rhythm, and the man's got it goin' on! Several of the songs are already boomin' in the dance halls, these being: "Sweet Black Pussy," "Tonite," "Bom and Raised in Compton," and a popular hit not found in the release, "Bitch Better Have My Money!" Quik also throws in a reggae tune called, "ThaBombudd," which talks of his addiction to smokin' da joint. Gettin' a little nastier is Quik's explicit love ballad, "I Got That Feeling." But my personal is, "Loked Out Hood." This album is far from disappointing. Quik is obviously a very talented man who actually produced all his tracks, with a bit of additional help only on "8 Ball." Talk of dope-dealin', free wheelin', booze-consumin', and drug abusin', is what the majority of this gangsta's lyrics involve. The words are thrown together smooth and quick, or fast, though sometimes slow'n'flowin, and the pace is always just right...QUIK IS THE NAME. While we're on the topic of gangsters, on RAP-A-LOT records the Geto Boys have come out with their newest CD, We Can't be Stopped. I guess to put it lightly some of the songs are rather controversial as far as lyrical content is concerned. But then again this is the Geto Boys we are talking about, and this is simply to be expected. The cover of this release shows Bush- wick Bill looking less than attractive. Apparently, in Houston, it was said, that after downing 190% proof Everclear, Bush- wick, feeling extremely suicidal, tried to have his girlfriend shoot him, and in the struggle the trigger, accidently pulled, went BANG! straight into Bush- wick' s right eye. This is the lovely sight we get to see; Bushwick, talking on his cellular, with his gauze patch hanging down, and his eye almost hanging out! Sick! Maybe this is cool to some... but I don't know about that! Anyways other than the attention- grabbing sleeve, the CD is pretty good. Somehow though Grip It On That Other Level had more... flavour? The beginning of the CD starts off with a tune called, "We Can't be Stopped" which tells of the trouble the Geto Boys went through while trying to release their album. Obstacles such as lawyers trying to take them to court, manufacturers not wanting to press the discs, promoters taking away tour dates, radio, talk shows and magazines banning the crew, and further events took place but did not stop this album from coming out.. .strong! One song tides, "Chuckie," is a gruesome song with plenty of violent description in it. It is cleverly written and is obviously directed towards the PMRC, showing the effect that "Child's Play" and other such horror movies has on the public. PMRC is always so busy try ing to clamp down on rap acts, but the fact is that a lot of these horror films are ten times as vicious, and disgusting, and influential towards its viewers. "1/2 my body is Chuckie, the other 1/2 Bushwick," states that the movie has caused Bushwick to become 1/2 insane due to the overpowering influence the movie has had on his brain. Samples from "Child's Play", are in the song, and eerie music also runs through the track. "Mind Playing Tricks On Me," seems to be one of the better tracks, or maybe this is just one of the more air-playable pieces. "F— War," isn't bad either. The message being portrayed is that it is a waste of time and lives to fight for 2 people's mistakes. The Godfather of Soul, James Brown, in his song Funky President, had said the same thing around the time of the Vietnam War. Now it's Iraq, but it's still pointless to go to war. Geto Boys say, "I ain't going to war for a shit talking President!" In one of the songs we discover the true personality of the members. I believe it's titled "I'm Not A Gentleman." The track starts off with a sample from "Ladies First," then Willie Dee cuts in, stating that that's a load of crap. He's from the ghetto, and is not a motherfucking gentleman. Of course he says that he treats a lady like a lady (a bitch like a bitch, etc.). This explicit CD also has its rude and crude tracks too, but I won't get into that. If you dig the Geto Boys, based on their previous album, then chances are you will somewhat dig We Can't be Stopped. It's awright. Hah! Hah! Hah! Who's next to step up and get reviewed? Here's a Uttle something I can guarantee you is not worth your while to purchase. Giant Records recording artists...Icy Blu! This young female is not correct. Upon first listening to this performer who has had all her production, mixing and lyrical contents arranged by someone else! The production fits into the formula of be-boppish teen bubblegum tunes. The music is polished to the point of commercial syndrome overdose! To recite the lyrics written takes no talent at all and there is absolutely nothing being said. Some particularly irritating songs are, "It's Your Birthday," and "He's Got It Going On." If you're into rap music, you'll find this release to be an insult. There are nine songs in total, which are nine songs too many! (Wack!) The Ruler's Back... Slick Rick's back on the scene with his 12 track release. Slick Rick raps along in his famous rollin' style. His first 12", "I Shouldn't Have Done It," appears on the album. In "Bond," Rick goes on an adventures as though he were James Bond. Flavour samples are thrown in, as well as homs and some scratching. "Moses," is a hit where he tries to school his listeners about Moses in a rap style that is easy to comprehend. With sample from "Indian Girl," off his previous album comes the tune, 'Tonto." On a more serious tip, Rick changes styles and falls into a depressed voice telling of the "Mistakes of a Woman in Love with Other Men." Another sad-toned rap is displayed in, "Run Away" where he talks of knowing that his girl is gonna run away to another man. He asks "How can he Uve to serve this next day?..." Slick Rick flows in his same old style not needing to pause for air anytime that I could tell. To conclude his release a housed-up version of "The Ruler," is tossed on the end. He talks through a speaker and lets the bass line and thumpin' bass drum take its toU. Go Slick Rick!!! Sway and King Tech From Houston, Texas on RAP-A-LOT Records, is Choice, with The Big Payback. This female MC takes no shorts! In the first track she manages to diss and dismiss such rappers as Eazy-E, Ice Cube, Dre and Yel- la, Willie Dee andtheothermem- bers of the Geto Boys, and as a finale, saves Too Short for last. Throughout the next tracks we find out that she is not some materialistic bitch and is down with her man 100%, "Back Seat Betty," is a song discussing the problem of girls who start young, messin' around with players and drugs. Rumors fly and self-respect seems to leave with it. It is sad how these girls get played, turn to drugs, and keep on in the game where they are always the loser. No joke. Choice explains, "I talk nasty but I'm no whore!" Funky horns end this track. The second side of The Big Payback is a lot nastier than the first. On the first side some intelligent lyrics are kickin', but on the other side sex, sex, sex, is all you hear. From "Mr. Big Stuff," to "Pipe Dreams,: to "Cat got your Tongue," it's plain to see this is one homy bitch. Most rhymes, overall, are well-written, with the exception of a few instances where it seems ad lib has saved Choice fromdoing are-take. She actually sounds like a female Bushwick, if that is possible, and has a good voice for rappin'. This woman knows ho w to throw down, so beware... and when you're out at the record store ask in' yourself what to buy, make this your CHOICE. A single just received at CiTR is that of Missy Mist. The release is called, "Let the Good Times Roll," and has several mixes on it. The song is very basic, and until further tracks have been released, no review is in check. Two other recent recordings have also not reaUy interested me but seeing that they are here, I have no choice but to mention them. Sway & King Tech, with Concrete Jungle has hit, The majority of the songs feature King Tech, not as rapper but producer, mixer, etc. The raps lack originality, something that is becoming a real bonus nowadays. It separates the real artists from those out only to hit the charts and make a quick buck or two. I'm not saying that this is what these boys are up to, but it is quite noticeable that King Tech dominates the tracks. The production is clear and concise and there are plenty of samples in the mixes. "Concrete Jungle," has samples from Grandmaster Flash's "TheMess age"... "It's like a jungle sometimes" and another weU known sample from the Eagles. Downtown Science has also come out with a full release, but I have not had a chance to Usten to all of it. It is also very high in production quality and sounds rather sterile in many areas. The style seems more suited for commercial radio airplay. As for the rapper this month...Quik is the name. a-:. g utmsm® _t_..____»- ■ _■kMv«Mi __■•% nrw _nisMi;_i nr_/«/\nr> ernoce CANADA'S LARGEST AND BEST KNOWN RECORD STORES RICHARD THOMPSON "Rumor and Sigh" RICHARD THOMPSON Rumor And Sigh 14 sterling new songs, and teems with types dear to its author's pen: drunks, lovers, and lunatics. .# DAVE SHARP 'Hard Travellin'" Guitarist from the alarm.. .music with a grassroots approach. A bluesy, folk journey you'll not soon forget. ^ TIMBUK 3 ^ "Big Shot in the Dark" "It's the first one we produced entirely ourselves plus, it's a bigger production and with a new band' -Pat McDonald. BARBIE BONES "Brake for Nobody" This Norwegian band is a cross between the Cult, Jesus Jones, heavy metal and almost everything else you can think of. SCHOOL OF FISH "School of Fish" m SCHOOL OF FISH School Of Fish 3 Strange Days • King Ol The DoHar • Speechless An intriguing album of songs both idealistic and sardonic, all about innocence, guilt, dependency, messed-up relationships, and turtles. GOLDEN THROATS "More Celebrity Rock Oddities" Hear Bing Crosby sing "Hey Jude", Jack Jones sing "Dixie Chicken", Phyllis Diller sing "Satisfaction", and more. DOWNTOWN EATON CENTRE RICHMOND SURREY 568 SEYMOUR ST. METROTOWN CENTRE PLACE 30 FRI CITR PRESENTS ME, MOM* MORGENTALER WITH PALEFACE AT THE COMMODORE... CiTR PRESENTS THE MINT IS A TERRIBLE THING TO TASTE WITH WINDWALKER. TANKHOG AND FACEPULLER ATTHE CRUEL ELEPHANT... Prairie Oyster at 86 Street... Na|ma Akhtar at the Vancouver East Cultural Centre... Tempest at the WISE Hall... Original Sinners at the Yale... Utlt Ellis EnsembleattheGiass Slipper... Ellen Mcllwaine Band at trie Railway... Glen Stace and One Big Union at the Town Pump... Amy Grant at the Coliseum... Aaron Van Dyke's exhibition Greek Sculpture Fragments and Laurel Woodcock's exhibition Interval at Artspeak (until the 21st)... Michael Letzring's exhibition Western Vistas at the Community Arts Council Gallery (until the 7th)... Bant on the Beach atVanlerPark... Patrick Mahon's exhibition Show Home: Thutrum Mundi at the Vancouver East Cultural Centre (until the 23rd)... 23rd Annual Toumee of Animation opens at the Starlight Cinema (until the 9th, 7pm & 9pm)... The Comfort of Strangers (7:30pm) and Betrayal (9:35pm) atthe Ridge...Viridlana(7:30pm)annE1Topo (9:15pm) at the Cinematheque... 31 SAT CITR PRESENTS HOOOOO GURUS ATTHE COMMODORE... Original Sinners at the Yale... Ellen Mcllwaine Band at the Railway... Inside Outside at the.Glass Slipper.- Glen Stace and One Big Union atthe Town Pump... Skahoom at 86 Street.. Bard on the Beach at Vanier Park... 23rd Annual Toumee of Animation at the Starlight Cinema (7pm & 9pm).., The Comfort of Strangers (7:30pm) and Betrayal (9:35pm) at the Ridge.. Virldiana (7:30pm) and El Topo (9:15pm) at the Cinematheque... 1SUN Coffin Break with Little Joe at the Cruel Elephant (all-ages show at 3:30pm)... Ths Unknown at the Railway... Crowded House at the Orpheum... 23rd Annual Toumee of Animation at the Starlight Cinema (7pm & 9pm)... Tha Comfort of Strangers (7:30pm) and Betrayal (9:35pm) atthe Ridge... 2 MON Cm* ALTERNATIVE NIGHT ATTHE PIT PUB... Celebrity Skin. Dose Pump, Love Junction and Charles on Charges atClub Soda.. Harpdog Brown at the Yale... Party Pigs at Maximum Blues Pub... 23rd Annual Toumee et AnimationattheStarlightCinema(7prn & 9pm)... Dances with Wolves (8pm) atthe Ridge... 3 TUE School startsll... CITR FUNK NIGHT ATTHEPITPUB... Last Corvairs at the UBC SUB Plaza (12:30pm)... Jef with Mother Trucker at the Cruel 8- ephant.. Juice Monkeys, Gorilla Go- rilla, Dogzilla and It at Club Soda... Moris Tepperfrom LA at the Railway... Party Pigs at Maximum Blues Pub... Harpdog Brown atthe Yale... Julie H oy's landscape exhibition Back to Nature at A Walk Is... (until the 30th)... 23rd Starlight Cinema (7pm & 9pm)... Dances with Wolves (8pm) at the Ridge... Poetry Reading by Ernesto Cardenal atthe Unitarian Church... 4 WED CITR HOT WEDNESDAYS ATTHE PIT PUB... Soul Survivorat the UBC SUB Plaza (12:30pm)... Cat's Game with Rusty Nails at the Cruel Elephant... Moris Tapper at the Railway... Locos atthe Town Pump... Jimmy Cliff at the Commodore... Carmen Rogues, The Explorers, and Elbore James and the Hlpshakers at 86 Street.. Acoustic Folks at the WISE Hall... Harpdog Brown at the Yale- Party Pigs at Maximum Blues Pub... 23rd Annual Toumee ot Animation at the Starlight Cinema (7pm & 9pm)... The Vanishing (7:30pm) and The Man Who Knew Too Much (9:30pm) at the Ridge... 5 THU CiTR PRESENTS PAPA WEMBA AT SATURNO SUPPER CLUB... CiTR ROCK THURSDAYS AT THE PIT PUB... Rumplesteelsktn at the UBC SUB Plaza (12:30pm)... The Tailgate rs atthe Town Pump... Dose Pump at the Cruel Elephant.. Sacred Hearts at the Railway... The Hhjhtops wtth Gary Floyd at 86 Street.. Jim Byrnes at the Yale- Mud Bay Blues Band at M axtm um Blues Pub... A Coat ot Many Colours: Two Centuries ot Jewish life in Canada opens at the Museum of Anthropology (until November 17th)... The 7U» Annual Fringe Festival opens in Mount Pleasant(untJI the 15th)... 23rd Annual Toumee of Animation at the Starlight Cinema (7pm & 9pm)... The Vanishing (7:30pm) and The Man Who Knew Too Much (9:30pm) at the Ridge... 6 FRI CtTRPRESENTSPAPA WEMBA ATSATURNO SUPPER CLUB... Ouster Flux with Paste and Mickey Christ at the Cruel Elephant.. UBC AMS Welcome Back Barbecue with Roots Roundup (noon). Spin Doctors (1:30 pm), Memory Day (3pm), Hard Rock Miners (4:30pm), and Sarcastic Mannequins (6pm) at Mclnnis Field (noon- 8pm)..Sacred Hearts at the Railway... Roots Roundup with Spin Doctors, Atlantis Bus, Kathleen Yearwood and ChevalDe Guerre attheCommodore... Hard Rock Miners at the Town Pump... Ron Kaimakoff at the Vancouver East Cultural Centre.. Mod Bay Blues Band at Maximum Blues Pub... Sheri-0 Wilson at the Grunt Gallery... Open Stage/ Jam Session at the UBC Grad Centre Fireside Lounge... Trooperat86 Street.. Jim Byrnes at the Yale.. The 7th Annual Fringe Festival continues in Mount Pleasant. 23rdAnnualToumeeofAnimation at the Starlight Cinema(7pm _ 9pm)... Thelma & Louise (7pm) and Atlantic City (9:30pm) at the Ridge... Once Around (7pm) and Backdraft (9:30pm) at UBC SUB Auditorium... 7 SAT Hard Rock Miners at the Town Pump... Chris Houston and His Evil Twang at the Cruel Elephant.. Oh Yeah at the Railway... One Riddim at the Commodore... Trooper at 86 Street. Jim Byrnes at the Yale... Leon & Eric Blhh atthe Orpheum... Ron Kaimakoff atthe Vancouver East Cultu ral Cen tre... Mud Bay Blues Band at Maximum Blues Pub... Madeleine Morris at the Grunt Gallery... Third Annual Brazilian Independence Fiesta at the Maritime Hall... Country Dance with Marian Rose _ Cousin Gizmo atthe WISE Hall... Western Vistasexhibirjon closes at the Community Arts Council Gallery... The 7th Annual Fringe Festival continues In MountPleasant..23rdAnnualToumee of Animation at the Starlight Cinema (7pm & 9pm)...Thelma & Louise (7pm) and Atlantic City (9:30pm) at the Ridge... Once Around (7pm) and Backdraft (9:30pm) at UBC SUB Auditorium... 8 SUN Hedgehog at the Cruel Elephant.. The Strangers at the Railway... Tom Cora & Catherine Jauni aux at the Western Front.. Diane Wood at the Grunt Gallery.. The 7th Annual Fringe Festival continues in Mount Pleasant.. 23rd Annual Taunts* af Animation attbeStartlght Cinema (7pm & 9pm)... Thelma & Louise (7pm) and Atlantio City (9:30pm) at the Ridge... VancouverRecord Collectors Association Record . CD Sals at the Kitsilano Community Centre... British S European Car Meet at the Museum of Flight & Transportation... 10th Annual Indian Summer All-Pony Roundup at Spanish Banks Beach.. Once Around (7pm) and Backdraft (9:30pm) at UBC SUB Audi- tori um... 9 MON CiTR ALTERNATIVE NIGHT AT THE PIT PUB... Oliver and the Elements at the Yale... Intruder, Aragathor and Stone the Crow at Club Soda.. The Mike Jacobs Band at the Maximum Blues Pub... JasmllalsmailattneGrunt Gallery... The 7th Annual Fringe Festival continues inMount Pleasant... 23rd Annual Toumee of Animation at the Starlight Cinema (7pm & 9pm)... UBC Fresh Week Begins (until the 13th)„. 10 TUE CiTR FUNK NIGHT AT THE PIT PUB... Ziggy Marley & tha Melody Makers with Crystal Waters at the Orpheum... Kathleen Yearwood at the Railway... Dead Surf Kiss, Culture Shock, Dr Unknown and Sycotic Jamnation atCiubSoda... David Raven at the Yale... The Mike Jacobs Band at the Maximum Blues Pub... Travis Tritt at 86 Street.. Yvonne Parent at the Grunt Gallery... The 7th Annual Fringe Festival continues in Mount Pleasant.. Thelma & Louis* (7pm) and Atlantic City (9:30pm) at the fodge... 23rd Annua I Toumee of Animation at the S tar- t!ghtCinema(7pm&9pm)...U8CFrosh Week continues... 11 WED CiTR HOT WEDNESDAYS AT THE PIT PUB... Shine with The Indecishres at the Cruel Elephant.. Acoustic Folks at the WISE Hall... Kathleen Yearwood at the Railway... David Raven at the Yale... The Mike Jacobs Band at the Maximum Blues Pub... Maxine Gadd atthe Grunt Gallery... William GR Hind's exhibition The Pictou Sketchbook opens at the Vancouver ArtGallery (until Nov 4th)... The 7th Annual Fringe Festival continues In Mount Pleasant.. The Cook, The Thief, His Wife and Her Lover (7pm) and PaperMa*k(9:25pm)atthe Ridge... 23rd Annual Toumee of Animation a; the Starlight Cinema (7pm & 9pm)... Heat & Sunlight wift Deaf lo the City at the UBC SUB Auditorium... UBC Frosh Week continues.... 12 THU CiTRROCKTHURSDAYSAT THE PIT PUT... Hippy Big Buckle, The Sapiens and Lady Jugs-o-Plent at the Cruel Elephant.. David Raven at the Yale... Green House at the Railway... The Mike Jacobs Band at the Maximum Blues Pub... Margaret Dragu at the Grunt Gallery... The 7th Annual Fringe Festival continues in Mount Pleasant.. The Cook, The Thief, His Wife and Her Lover (7pm) and Paper Mask (9:25pm) at the Ridge... 23rd Annual Toumee of Animation atthe Starlight Cinema (7pm & 9pm)... Heat 4 Sunlight with Deal to the City at the U8C SUB Auditorium... UBC Frosh Week continues... 13 FRI David Gogo 4 the Persuaders at the Commodore... David Raven at the Yale... David Essig at the WISE Halt... Green House at the Railway... Skahoom at 86 Street.. Stoaters and the Nervous Fellas at the UBC Grad Centre Banquet Room... The Mike Jacobs Band at the Maximum Blues Pub... Sandra Lockwood at the Grunt Gallery..The 7th Annual Fringe Festival continues In Mount Pleasant- Jungle Fever (7pm) and Do the Right Thing (9:35pm) at the Ridge... Truth or Dare (7pm) and The Doors (9:30pm) at UBCSUBAuditOrium.UBCFroshWeek Closing Ceremonial Fireworks (midnight).., -< I &M^E3f j_i - 14 SAT CiTR PRESENTS OJ SOUND WAYCHAPTERTWOATTHESUBBAU- ROOM (6PM)... 64 Funny Cars with Like Rain at theCruel Elephant.. Green House at the Railway... David Raven at the Yale... Vince Gill at the Commodore... Greenpeace 20th Anniversary at the Orpheum with Billy Bragg, Ferron, Ann MortUee, Chilliwack, Bourne & MacLeod, Garnet Rogers and African Heritage... The Mike Jacobs Band at the Maximum Blues Pub... EHaheth Flsherat the Grunt Gallery... Roya) City Youth Bailers Cinderella at the Queen Elizabeth Playhouse... The 7th Annual Fringe Festival continues inM ount Pleasant Jungle Fever (7pm) and Do the Right Thing (&35pm) at the Ridge... Truth or Dare (7pm) and The Doors (9:30pm) at UBC SUB Auditorium... World Flower Btrlb Week begins (until the 21st)... 15 SUN CiTR PRESENTS OJ SOUND WAR CHAPTER TWO ATTHESUB BALLROOM (6PM)... Spoken World/Poetry NlgbtattheCruelElephanL..RockStock '91 with Strawberry Alarm Clock, 5 Man Electrical Band, Sugartoaf, Kelly Jay & Crowbar, Spencer Davis Group, War, Mark Famer with Grand Funk Railroad at Plaza of Nations (noon)... Alice Tepexcuiatie at the Grunt Gallery... The 7th Annua! Fringe Festival continues In Mount Pleasant... Jungle Fever (7pm) and Oo die Right Thing (9:35pm) at the Ridge... Truth or Oare (7pm) and The Doors (9:30pm) at UBC SU8 Auditorium... World Flower Bulb Weak continues... 16 MON CiTR PRESENTS ROUND OWE OF SHINDIG '91 THAT LOCAL BAND COMPETITION FROM CiTR AT THE RAILWAY... CiTR ALTERNATIVE NIGHT AT THE PIT PUB... Sacrifice, Caustic Thought, Th* Axis and Know Idea at Club Soda... Oliver and the Elements at the Yale.. The Terry Edmonds Band at the Maximum Blues Band... Beyond the Fringe opens at the Vancouver East Cultural Centre (until the 21st)... Paris Trout (7:30pm) and Badlands (9:25pm) atthe Ridge... World Flower Bulb Week continues... 17 TUE CITR FUNK NIGHT AT THE PIT PUB... Fringe Festival Volunteer Appreciated Night at the Cruel Elephant.. Groove Ranch with Symme try at the Railway... The Bodeansat86 Street.. Thunder at Club Soda... Oliver and the Elements at the Yale... The Terry Edmonds Band at the Maximum Biues Band... Beyond the Fringe at the Vancouver East Cultural Centre... Paris Trout(7:30pm) and Badlands(9:25pm) atthe Ridge... World FlowerBulb Week continues... 18 WED CITR HOT WEDNESDAYS AT THE PIT PUB... Slip Shodsat me Railway.. Show Business Giants with Only In Victoria at the Cruel Elephant... Don Reid with Time & Rhythm at the Glass Slipper... 01 fcerand the Elements atthe Yale... The Terry Edmonds Band atthe Maximum Biues Band... Clarence Gatemouth Brown at the Backstage (Seattle)... 5th of July opens at the Frederic Wood Theatre (until the 28th)... Beyond Ore Fringe at the Vancouver East Cultural Centre... Open Doors (7:15pm) and Cinema Paradiso (9:25pm) at the Ridge... World Flower Bulb Week continues... 19 THU CITRROCKTHURSDAYSAT THE PIT PUB... Ovarian Trolly with Sugar Boom at the Cruel Elephant... The Heretics al the Railway... Al Walker Blues Band at the Yale... Blair Lewis Group at the Glass Slipper... The Terry Edmonds Band at the Maximum Blues Band... Judith Marcuse Dance Company at the Vancouver Playhouse... 5th of Jury continues at the Frederic Wood Theatre... Beyond the Fringeat (he Vancouver East Cultural Centre... Open Doors (7:15pm) and Cinema Paradiso (9:25pm) at the Ridge... 5th of July opens at the Frederic Wood Theatre (until the 28th)... World Flower Bulb Week continues... 20 FRI Gorilla Gorilla at the Cruel Elephant.. The Heretics at the Railway... Al Walker Blues Band at the Yale. The Terry Edmonds Band at the MaximumBIues Band... Judith Marcuse Dance Company at the Vancouver Playhouse... 5th of July continues at the Frederic Wood Theatre... Beyond the Fringe at the Vancouver East Cultural Centre... Defending Your Life (7pm) and New Jack City (9:30pm) at the U8C SUB Auditorium... World Flower Bulb Week continues... 21 SAT The Squimils with Sarcastic Mannequins at the Cruel Elephant.. The Heretics at the Railway... Garnet Rogers at the WISE Hall... Roger Whi (taker attheOrpheum... RogerBaird and Real Time at the Glass Slipper... Al Walker Blues Band at the Yale... The Terry Edmonds Band at the Maximum Blues Band... Greek Sculpture Fragments exhibition and interval exhibition cosesat Artspeak... Judith Marcuse Dance Company at the Vancouver Playhouse... 5th of July continues at the Frederic Wood Theatre.. Beyond tha Fringe doses at the Vancouver East Cultural Centre... Defending Your Lite (7pm) and New Jack City (9:30pm) at the UBC SUB Auditorium... World Flower Bulb Week ends... 22 SUN 9 Pound Hammer with Tankhog at the Cruel Elephant.. Frank Frink 5 at the Railway... Garnet Rogers at the WISE Hall... Roger Whittaker at the Orpheum... 5th of July continues at the Frederic Wood Theatre... Defending Your Ufe (7pm) and New Jack City (9:30pm) atthe UBC SUB Auditorium... 23 MON CiTR PRESENTS ROUND ONE OF SHINDIG '91 AT THE RAILWAY... CiTR ALTERNATIVE NIGHT at the Pit Pub... Malhavocwith Womb Service at Club Soda... Clarence Gatemouth Brown at the Yale... 5th of July continues at the Frederic Wood 24 TUE CiTR FUNK NIGHT AT THE PIT PUB... Rootebeggasat the Railway... 5th of July continues at the Frederic Wood Theatre... 25 WED CiTR HOT WEDNESDAYS ATTHE PIT PUB... Rootebeggasat the Railway... Environment Benefit at the Cruel Elephant.. Papa Wemba at the Backstage (Seattle)... A Change for the Different at the Vancouver Little Theatre... 5th of July continues at the Frederic Wood Theatre... Without You, I'm Nothing with Water ft Paper at the UBC SUB Auditorium... 26 THU CiTR PRESENTS THE SHUFFLE DEMONS WITH ROOTS ROUNDUP AT THE COMMODORE... CiTR ROCK THURSDAYS AT THE PIT PUB... Sister Lovers at the Cruel Elephant.. Jazz from Sweden with Arm Domnerus Trio, Putts Wicfcman Quartet and Milder & Jansson Quartet at the Glass Slipper... A Change for the Different at the Vancouver Little Theatre... The Razzle Dazzle Comedy Cluh opens at Hendry Hall (until Oct 12th)... • 5th ol July continues at the Frederic Wood Theatre... 27 FRI The Sweaters with Touch V I Gos and BUM at the Cruel Elephant... , Condition from Montreal at the Railway... Jazz from Sweden with Ame Domnerus Trio, Putte Wicfcman Quartet, and Milder & Jansson Quartet at theGlassSlipper...TheValentinos,The Braineaters, Kiss Kiss _ Bang and Touch _ Gos at the Town Pump... A Change for the Differentat the Vancou- I ver Uttle Theatre... 5th of July contin- I ues at the Frederic Wood Theatre... Hudson Hawk (7pm) and Silence of the I .Larnbs^-OpmJattheUBCSUBAudi- 28 SAT Bone Club with Hitting Birth I .at the Cruel Elephant.. Bedlam Rovers ''with Wanna Be Texans from San Francisco at the Railway... Electric Bonsai Band at the WISE Hall... Bill Smith & Bill Uttle at the Western Front.. Jazz Irom Sweden with Ame Domnerus trio, Putte Wickman Quartet, and Milder & Jansson Quartet at the Glass Slipper... A Change for the Different at the Vancouver Little Theatre... 5th of Ally continues at the Frederic Wood Theatre... Hudson Hawk (7pm) and Silence of the Lambs (9:30pm) at the UBC SUB Auditorium... 29 SUN The Bedlam Rovers at the Cruel Elephant... Frank Frink 5 at the Railway... David Alan Grier and Mark ":, Curry at the WWU Carver Gymnasium (Bellingham)...HudsonHawk(7pm)and Silence of the Lambs (9:30pm) at the UBC SUB Auditorium... Walk for AIDS ■91... 30 MON CITR PRESENTS ROUND ONE OF SHINDIG '91 AT THE RAILWAY... CiTR Alternative Night at the Pit Pub... Fake It Big Timewith False Witness at Club Soda... Back to Nature exhbition closes at A Walk Is NIOHTCLUBS/Qn VENUES Glass Slipper 185 E 11th 877.0066 CLUB SODA 1055 HOMER 681.8202 Commodore Ballroom 870 Granville 681.7838 CRUaELEPHANT 1176GRANVILLE 688.8748 88 Street Music Hall Plaza of Nations 683.8687 Graceland 1250 Richards 688.2848 Hogans Alley 730 Main 689.8645 LaQuena Uncommercial 251.6626 LUNATIC FRINGE 315 BROADWAY 876.7003 Maritime Hall 111 Victoria 254.1692 MAXIMUM BLUES PUB 1176GRANVILLE 688.6571 PIT PUB BASEMENT UBC SUB 822.6511 Railway Cluh 579 Dunsmuir 681.1625 The Roxy 932 Granville 684.7699 TWILIGHT ZONE 7 ALEXANDER 682.8550 UBC Grad Centra 6371 Crescent 733.1303 UBC School of Music 6361 Memorial 822.3113 Vancouver East Cultural Centra 1895 Venables 254.9578 UBC FineArts Gallery UBC Main Library 922.2759 Waterfront Theatre Granville Island 685.6217 UBCM OALL£RIES/EXHWIT10N SPACES A Walk Is... 976 Denman 682.0060 Artspeak Gallery 311 W Hastings 688.0051 Burnaby Village Museum 6501 Deer Lake (Burnaby) 293.6500 Community Arts Council 837 Davie 683.4358 Emily CarrSch. of Art & Design Granville Is! 844.3811 58 Gallery 56 Powell 684.7387 Found Art Gallery 528 Powell 253.1033 Grunt Gallery 209 E 6th 875.9516 lories 36 Powell 681.6740 Gallery 333 Chesterfield (N Van) 986.1351 Smash Gallery 160 W Cordova 662.7200 UBC AMS Fine Arts Gallery UBC SUB Teck Gallery SFU Harbour Centre 291.5126 UBC Asian Centre 1871 West Mall 822.2746 822.5087 Vancouver Art Gallery 750 Hornby 682.5621 VECC Gallery 1895 Venables 254.9578 Vancouver MaritimeMussum 19050gden 737.2212 Western Front 303 East 8th 876.9343 THEATRES Arts Club Backstage Granville Island 687.1644 Arts Cluh Granville Island Granville Island 687.1644 Back Alley Theatre 751 Thurlow 688.7013 Dorothy Somerset Studio basement 6354 Crescent 822.2678 Firehall Arts Centre 280 E Cordova 689.0926 Frederic Wood Theatre 6354 Crescent 822.2678 Hendry Hall 815 E 11th (N Van) 983.2633 Presentation House 333 Chesterfield (N Van) 986.1351 Studio 58 Langara Campus VCC 324.5227 Dolphin Cinema 4555 E Hastings (Burnaby) 293.0321 Dunbar 4555 Dunbar 228.9912 Hollywood 3123 W Broadway 738.3211 The Lux 57 E Hastings 687.7589 Pacific Cinematheque 1131 Howe 688.3456 PARADISE CINEMA 919 GRANVILLE 681.1732 Ridge Theatre 3131 Arbutus 738.6311 Starlight Cinema 935 Denman 689.0096 Stanley 2750 Granville 733.2622 SUB Auditorium UBC SUB 822.3697 Varsity 4375 W 10th 222.2235 OTHER SPACES Kitsilano Community Centre 2690 Larch 324-1229 Science World 1455 Quebec 687.8414 UBC Gallery Lounge UBC SUB 822.4508 UBC AMS GAMES ROOM BASEMENT UBC SUB 822.3692 UBC Student Union Building 6138 SUB Blvd UBCThunderBar 6066Thunderbird Blvd 822.6121 Unitarian Church 949 West 49th 879-7216 ANZA CLUB 3 W 9TH © ONTARIO • ARCADIAN HALL MAIN FLOOR 2214 MAIN @ 6TH • CAMBRIAN HALL 215 E17TH® MAIN'CINDERELLA BALLROOM 185 E 11 TH © MAIN • FRINGE CLUB 3RD FLOOR MT PLEASANT LEGION • GRUNT GAL- w LERY 209 E6TH9 MAIN* HERITAGE HALL 3102 ® MAIN015TH«HOTJA_ZCLUB 2120MAINQ6TH ~ • LUNATIC FRINGE 315 E BROADWAY @ SCOTIA 3 • MAIN DANCE PLACE BASEMENT 2214 MAIN & g" 6TH-MT PLEASANT COMMUNITY CENTRE 3161 "_ ONTARIO @ 16TH • MT PLEASANT LEGION 2655 £ MAIN @ 10TH • VANCOUVER LITTLE THEATRE <£ BACK ALLEY 3102 MAIN © 15TH GS&ssasa© ON THE DIAL © SUNDAYS AREYOUSERIOUS? MUSIC 8:00AM- 12:00PM The newest new music and information on concerts, recordings, and composers with host lan Crutchley. THE BRUNCH REPORT 12:00-12:15PM News .sports, weather and more with the CiTR News, Sports and Weather Departments. THE ROCKERS SHOW 12:15-3:0OPM Hosts: George Barrett and Mike Cherry. Reggae inna all styles and fashion. Dancehall, Dub, Roots, Lovers-rock. Rocksteady, Ska and beyond! THE SUNDAY MAGAZINE 5:00- 5:30PM All the day's news, weather and sports. Plus an In- depth interview, movie reviews and more. Hosted by Luc Dinsdale. HEARSAY 5:3O-6:00PM CiTR's literary arts program needs YOU to submit your works for on-air performance or reading. ELECTRONICSMOKESIGNALS6:00- 8:00PM From the global cultures of resistance hosted by Horace de la Cueva, alternating Sundays. MAURY'S GOT THE NIGHT OFF 6:00- 10:00PM ALTERNATINGSUNDAYS Kooky antics, current irrelevant Issues. Joe Jackson. Pankow, Ice-T. Hellbastard, and yourcool requests. Hosted by Karen Toddington and Lloyd Uliana. RADIO FREE AMERICA 10:00PM- 12:00AM Join host Dave Emory and colleague Nip Tuck for some extraodinary political research guaranteed to makeyou think twice. Bring your tape deck and twoC-90s. Originally broadcast on KFJC (Los Altos, Califor- MONDAYS THEMORNINGSHOW 7:30-8:15AM Wake up with the CiTR Morning Show. All the news, sports and weather you need to start your day. Pius whats happening at UBC each day with UBC Digest, a feature interview and more. Topped off with the BBC World Service News at 8:00AM, live from London, England. Hosted by lan Gunn and Antje Rauwerda. BREAKFAST WITH THE BROWNS 8:15- 11:00AM Your favourite brown- sters James and Peter offer a savoury blend of thefamiliar and exotic in an excitingly luscious EKeSCKP blend of aural delightsl Tune in and enjoy each weekly brown plate special. DON AND GOURD'S STUPID RADIO SHOW 11:00 AM-1:00 PM Noon feature : Crucifix in your ear. THE AFTERNOON REPORT 1:00- 1:15PM News, sports and weather. MEKANIKAL OBJEKT NOIZE 1:15- 3:00PM CiTR's only all industrial/ technical/electronicshowwith different feature albums every week. With your dj pal, June. Bill Leeb loves you all. LOOK I IT S BONUS GIFT TIME AGAIN, HOWARD I 3:00- 5:00 PM New records and new CDs smell a special way. Tune in and have a whiff. Rowena has hay fever. She can't smell. THE CITR DINNER REPORT 5:00- 5:30PM All the latest on campus: news, sports, an in-depth interview, theatre or film review, editorial commentary and more. Weekdays with host lan Gunn. SPORTS DIGEST 5:30-6:00PM Campus, amateur and professional sports with Keith Watson. BOXER SHORT BOYZ 7:00-9:00PM Just a couple of guys who like to walk around in their boxershorts with their big fat guts hanging out. Jerome Broadway and Garnet Timothy Harry alternate THE JAZZ SHOW 9:00PM-12:00AM Vancouver's longest running prime time jazz program. Hosted by the ever-suave Gavin Walker. Features at 11. 2nd A "classic' tonight: "Sonny Rollins Plus Four" is in reality the final studio recording of the Max Roach-Clifford Brown Quintet before the tragic auto accident that killed Clifford and the band's pianist Ritchie Powell. Hear why Brown was the most brilliant trumpeter of his generation...he was only 26 when he died. Lasting Jazz. 9th "Extensions" is a spiritual and moving document by McCoy Tyner...agreatinnovatfve pianist and an all-star band that includes Gary Bartz (alto), Wayne Shorter (tenor), Ron Carter (bass), Alice Coltrane (harp), and Elvin Jones (drums). Tyner's concepts and compositions will take you to places you may never have been...tonight! 16th *What Is Jazz?*, an educational, analytical and often humorous and very entertaining look at what Jazz is and Isn't. Narrated by the late great Leonard Bernstein. A great way to begin a new schoolyear...learn about 23rd John Coltrane was born on this date in 1926...he would have been 65 today...we'll celebrate Coltrane's birthday by playing one of his most influential recordings..."Giant Steps". This record was a summing up of Coltrane's music and a breakthrough to his next phase. We will also be featuring Coltrane's music for the whole show tonight. 30th Thelonious Monk "Live in Tokyo* (1963). Monk's first visit to Japan with his working quartet with Charlie Rouse on tenor saxophone. Monk andthegroupinbrilliantform dazzling the Japanese. PHENOMENON ONE 12:00-4:00AM Now hear this! Roughneck dance hall Reggae, dub plates and live DJ selections that are ruling Jamaica and abroad, with whitey at the controls. TUESDAYS THEMORNINGSHOW 7:30-8:15AM Hosted by Antje Rauwerda and lan Gunn. DOG'S BREAKFAST 11:00AM - 1:00PM dog's breakfast. 1. A rness:low Glasgow (-1934) 2. Confusion; turmoil: Australian: since ca. 1935. Tune in for Inept pandemonium, hilarity and fairy tales - with your exquisite hostess Helen G. Yes, there is life beyond news. 3rd The Youth Who Could Not Shiver and Shake - Grimms Brothers 10th The Lonesome, Lost Rebellion of Mom's Cafe - Helen Potrebenko 17th Goblin Market - Christina Rossetti 24th The Dancing Palm Tree - A Nigerian Folktale BLOOD ON THE SADDLE 1:15- 3:00PM Country music toscrape the cowshit off your boots to. With yer host-poke Jeff Gray. THE REAL DEAL 6:00-7:00PM *lf it ain't rap then you know It's crap."-Eazy-E. Hardcore rap with your host Terror T. THE UNHEARD MUSIC 7:00-9:00PM Demo Director Dale Sawyer provides some insight into the best and the worst of the newest Canadian music. AVANT-PIG 9:00PM-12:00AM Alternating Tuesdays with Wolf at the Door. Now three hours of funky ambient noise piggery with Pete Lutwyche. WOLF AT THE DOOR 9:00PM- 12:00AM Alternating Tuesdays with Avant-Pig. The latest in dance music and interesting drama every second week. With Lupus Yonderboy. AURAL TENTACLES MIDNITE UNTIL THE MOON DROPS Fun for the whole family to enjoy! Weird chunks of news, odd pieces of tuneage, Pierre and the 2AM WWOD. WEDNESDAYS THEMORNINGSHOW 7:30-8:15AM Hosted by lan Gunn and Antje Rauwerda. UVE FROM VENUS 10:00-11:00AM Getthis! Women Music Women Stories Women Articles Women Poetry Women Music Women Got it? CONTENTS UNDER PRESSURE 1:15- 3:00PM Spinning the best (and sometimes the worst) playlist material, bringing a variety of music styles from places you'll not hear on any other radio station... seriously. I appreciate all requests. I work best under pressure and the gods have seen to it that I am supplied well with sonic bliss... hence the title. NORMAN'S KITCHEN 3:00-5:00PM The apocrypha of CiTR. We like God. We like 70's Rock N Roll. NO INTERMISSION 5:30-6:OOPM Addressing thedrama, theatre.film and arts communities. With Antje Rauwerda. HANFORD NUCLEAR PIZZA PIE 6:00- 7:00PM LaConner: weather freak-out zone of the Pacific Northwest. JIGGLE 7:00-9:OOPM Just because you're fat, doesn't mean you're alternative. Mikey "girly hair'and Gov "Bristle-head." joined by their adoring groupie, serve up breakfast all day from their porta-kitchen. Jiggle Jiggle Jiggle! Lose all sphincter control. THURSDAYS THEMORNINGSHOW 7:30-8:15AM Hosted by Antje Rauwerda and lan Gunn., A VOICE OF DISSENT 1:00-3:00PM There I was, minding my own business, listening to the CiTR Lunch report, when this smooth, rhythmic tune crept up behind me and bound me in its sinuous grip. I was hypnotized, spaced out, swaying with the pulse. Zombied. I was defenceless against the Beefheart assault when it hit, raping my ears with torturous screaming saxophones. 'Oh God, please, fuck my mindforgood I' Icrled.Send me a tape of your poetry, spoken word, or sound collage. FLEX YOUR HEAD 3:00-5:00F*M —HARD -JINX- -ERIC- --CORE- OUT FOR KICKS 6:00-8:00PM Explore the pleasures of plastic with your faithful native bearers Pat, Lisa, and sometimes Chris. RED HOT AND BLUE 8:00- 9:00PM Roots music, rhythm and blues, rock 'n roil, and who knows what, hosted by Eddie J. UVE FROM THUNDERBIRD RADIO HELL 9:00-11:00PM Local music from 9. Live bands from 10. ABSOLUTE VALUE OF NOISE 11:00PM-1:00AM 100% Canadian industrialism. Noise with four-dimensional psycho- acoustic Interactivity. Practitioner: Peter Courtemanche. GIGABLAST! 1 AM-COMPLETE EXHAUSTION Late night spontaneous aural combustion. Easy listening for the truly weird. Live mixes, sonic loop-dHoops, projectile poetry, microphone molestation, and impromptu noise FRIDAYS THEMORNINGSHOW 7:30-8:15AM Hosted by lan Gunn and Antje Rauwerda. TOP OF THE BOPS 10:00-11:00AM Musical chef Marc Coulevin boils up a tasty pot of gumbo THE INTERNATIONAL VENUS FLYTRAP NETWORK OF LOVE 11:00AM- 1:00PM Don't tune in cause you'll hate it anyway, well...maybe not. Bye. THE NOIZ SHOW 2:30-3:30, 4:00- 5:00PM Adam Noizi Sloan brings the noiz. NARDWUARTHE HUMAN SERVIETTE PRESENTS... 3:30-4:00PM Join Nardwuar and his war cat Cleo von Fluffelstein for half an hour of stimulating Manhattan clam chowder entertainment. THE CITR DINNER REPORT 5:00- 5:30PM With The Voice of Reason.* our weekly took back at the week in the news, tongues firmly in cheek. THE DARYL AND SUZI SHOW 6:00- 9:00PM Undergroundsoundsys- tem-style mastermix radio. FOR THE RECORD 6:30-6:45PM Ex cerpts from Dave Emory's Radio Free America Series. HOMEBASS 9:00PM-12: 30AM Dope jams and fresh beats fora groovy evening with DJ Noah on the wheels of steel. SATURDAYS THE SATURDAY EDGE 8:00AM- 12:00PM Vancouver's biggest and best acoustic/roots/rogue radio show. Now in Its 6th year on CiTR! Roots music from around the world. June 1: 6th birthday special I POWERCHORD 12:15-3:00PM Vancouver's only true metal show; local demo tapes, imports and other rarities. Gerald Ratttehead and Metal Ron do the damage. IN EFFECT 3:00-5:00PM The Hip Hop Beat and nuttln' butt. With hosts RSJ and BZ Jam. THE SATURDAY MAGAZNE 5:00- 5:30PM UBC's weekend news. All the latest news, sports, weather, a movie review, feature reportand more. News with Luc Dinsdale; Doug Richards has sports. THE AFRICAN SHOW 8:00-10:00PM It's a music thing from all "Africa." Ifs an awareness thing of self and others. It's an African house party. Stories, music, dance fun. Welcome! Your host: Umerah. GROOVE JUMPING 10:00PM- 1:00AM There are those who are never happy with the status quo. Those who must have the new, those who define themselves by what others are not... uh, this is more to the point. Out of beer, out of tune, and out of control...music to peel paint by. Hosted by Terry Hoi- WHOM & HOW ARTS JEROME PRINGLE BOARD CHAIR SONIA FRASER CURRENT AFFAIRS ANTJE RAUWERDA DEMOS/CASSETTES DALE SAWYER ENGINEER RICHARD ANDERSON ENTERTAINMENT LUC DINSDALE MOBILESOUND DARREN REITER MUSIC ROBYNN IWATA NEWS IAN GUNN NEWS FEATURES TRACY DOLAN PRESIDENT DARREN REITER PRODUCTION JOELFRANSEN PROGRAMMING ADAM SLOAN PROMOTIONS MIKHELRANNISTE SECRETARY HELEN GINTER SPORTS CHRIS UREN STATION MANAGER UNDA SCHOLTEN VICE PRESIDENT MINDY ABRAMOWIITZ VOLUNTEER COORDINATOR JOHN RUSKIN ARE YOU SERIOUS MUSIC i-Mstvra ROCKERS SHOW IHE NEWNENI ARGO SHOW MEDIA CONTROL IN IHE GBP Of i'ii<i7__._ij=_ivi^_a.:ii_i_.:u mmmmmmmm*mmmm BREAKFAST nCATH DIGITAL MRGA YOU WIN IHE ffiSiK ALARM ™B™ NEW browns WATCH cHRONo BLACK! jets. STUPID gggg SVI JAZZ VENUS RADIO fast t $ E THIS FLYTRAP wmmzmam*nm:*rjmama;*!m»x»m!»m:*m-*»m;**m MEKANIKAL BLOOD ON CONTENTS MM CUT P/FWATFP O6J-KTN0gE THE SADDLE IMPKSIK 1/ |QQ Cfl | *}{g™ goVf LfVE PROM NORMAN'S ^ex JgM ?/iSI VENUS KITCHEN h?a5 NOETWcf " " " "™"i _P.__.l_tl * _■■!___■ *»jr* ■■ M£_____ EALDEAL i_N____ gWFOR DARYL boxer UNHEARD ||AA|[ KICKS AMD lovg MUSIC JlwLJ m*. qi i7i the MNT/ mmm _££_£ TT^J JAZZ M DAYDREAM/ Bffiffi HOME SHOW DOOR 1MULLAN j^ BASS PHENOMENON 1111)11 OPEN value of.. -—■ ONE AUkAL COUNTRY g|g^ MQQ DANCE REGGAE JOY/ HALL IHIKIR OPEN jyijjj 2QK SEASON THE SATURDAY EDGE rowER CHORD HEAUN' HOUR AFRICAN SHOW GROOVE JUMPING SOME IHING The stuff in these charts has been compiled from playsheets filled out by all djs/programmers who had shows over the past month. The charts are organised in order of airplay. If you need or want any further information just give music director Robynn a call. She can most often be reached at CiTR Monday to Friday noon to 4pm (PST). SEPTEMBER fll SHORT fiROOVFS RQ 1 Fudge Tunnel.. "Sunshine of Your Love" CD-5" (Relativity) 2 Various Artists Blobs Volume One: 4 Vic toria Bands 7" (WayOut!) • Various Artists Estrus HalfRack 7" Box Set (Estrus) 4N-Joi "Malfunction" 12" (BMG=RCA) • The Orb "Perpetual Dawn" 12" (Mercury) • Facepuller "Immorallzar" 7" (Temple North) 7 Mudhoney Let It Slide CD-5" (SubPop) • Is This Bob 3-Song7"EP(Plumb) • KodelV "Scratch Attack" 12" (Cargo=KK) io Sleepyhead "Play" 7" (Picture Book Artifact) 11 Pates Planet of Sound 12" EP(Polygram=4AD) llSeam Days of Thunder 7" (Homestead) UTreepeople/HouseofLargeSlzes Split 7" (Toxic Shock) >-Yo "AInl Nobody Better" 12" (East West) l»ChemLab lOTon Pressure 12" EP(Chemlab) =0 "We Are Back" 12" (Tommy Boy) 17 Octatrackter "Kiddle Fist" 7" (Kll Tel) MTestDept NewWorid Order CD-5" (Jungle) l» Fastbacks Doubter*(SubPop) 20 Gary Clail&OrvU Sound System "Human Nature" CD-5" (BMG-US) 21 Blake Babies Rosy Jack World 12" EP (Mammoth) 22 Terminator X "Juvenile Dellnquintz" CD-5" (Sony= Def J: l Pegboy Field of Darkness 7" EP (Touch _Go=l/4 Stick) (Antoinette "Never Good Enough" 12" (Round the Globe=Next Plateau) 25 Shabba Ranks "Housecall" CD-5" (Sony=Eplc) 2« Black Tambourine 4-Song7"EP(Slumberland) 17 Ignatius "Swoetflsh"7" (Silence) 2« Buzzcocks Alive Tonight CD-5" EP (Planet Pacific) 2» 808 State "Ooops" 12" (Tommy Boy) ••Stereotaxic Device "Lostland"12"(Cargo=KK) a Datura Seeds "S*P'69"7"(Tox(cShock) >2 lowaBeef Experience Traitor Court 7" (No) Seville) M Anger Means Not Human Anymore 7"EP (Skene!) M Naughty By Nature "O.P.P." 12" (Tommy Boy) as Stumpy Joe "Love PlumUn'" 7" (Popllama) osslcon Memorial 7" (Vermin Scum) *7 Gnome "13 Family" 7" (Blossom) ••Dolomite Venus 7" (Fiasco) M Missy Mist "Let the Good Times Rod" 12" (Round theGlobe=BMG=RCA) 4»BoneClub "Six Feet Under 7" (Rocket Sound) 41 Burning Heads "Hey You" 7™ (Black & Noir) 42 Red Devils "Queen Bee" 7" EP (Cast Ing Couch) 4«M99 "Drunk* Alone" 7" (Audio Addict) 44 Youth Gone Mad Yesterday's Innocence... 7"EP(Smilin' Ear) 4C Lilys "February Fourteenth" 7" (Slumberland) 44 Slushpuppies The "Blacklisted" Double 7" Set(Meat=Parkland Coop) 47 Manic Toys "WhattoDo"7"EP(TrashCan) 4a Dambuilders "YoMamaflsh"7"(Puppethead) irlousArtlsts Metal Ribbons 7" (Meat) — Rena&HerMen "CaH Me" 7" (Rena) 1911 ONfi fiRO.HXX.VFS 101, l Seaweed Despised (SubPop) 2Me,Mom&Morgantaler Clown Heaven* Heil (Chooch) • NoMeansNo Uve* Cuddly (Alternative Tentacles) 4 VarlousArtists Till the Bars Break (Cargo=lrreslstable) • Mudhoney EveryGood Boy Deserves Fudge (SubPop) • My Life with the Thrill Kill Kurt Sexplosion (Cargo=WaxTrax) 7 De La Soul De La Soul I* Dead (Poly_ram=Tommy Boy) a Stephen Fearing Blue Une(Sony=Hlgh Romance) • Hilt Orange Pony (Nettwerk) 10 Soundtrack BoyzlnthoHood(Warner=Qwest) UVasilisk Liberation and Ecstacy (Musica Maxima Magnetique) 12 Einsturzende Neubauten.. Strategies Against Architecture II (Warner=Mute) l» Smashing Pumpkins Glsh (Caroline) 14 VarlousArtists Cold Front (A&M=Attlc) is Cat Rapes Dog.. 15 Anthrax Attack of the WltorB's (lsland=Megaforce) l« Delerium M Zoviet France.... 2iSoulSide.... StoneTower (Dossier) •/.Thief of the Sun (DOVentertalnment) »=Happy (Dischord) 22 Cyberaktif. Tenebrae Vision (WaxTrax) IS Spirit of the West Go Figure (Warner) MN.WA Nttaz4Ufe (Round theGlobe=Priority=Ruth less) 2S FelaAnlkulapoKutl Original Sufferhead (Shanachie) 7* Alice Donut Revenge Fantasies of the Impotent (Alternative Tentacles) 17 The Ex Dead Fish (Nine Mile) MBIackUhuru Iron Storm (Mesa=BlueMoon) 2* Headfirst The Enemy (Car_o=Workshed) ••And One Anguteh (Machinery) M Did/its Full Nelson ReHly (Touch* Go) •2 Mecca Normal Water Cuts My Hands (Matador-K) M Eek-a-Mouse U-Neek(lsland4JS) •4 No Use for a Name Incognito (New Red Archives) M SisterCarol Mother Culture (Ras) *• Lustmord Paradise Disowned (Side Effects) XI Railroad Jerk Railroad Jerk (Matador) M VarlousArtists Indie Cantflndfe Cant) ••Billingsgate No Apologies (Cargo=Nemesis) 42 VarlousArtists 20 Ex pi os ive Dynamic Super Smash Hit. ..(Pravda) 4»ThinkTree Eight/Thirteen (SlneAppleSap) 44 Kirsty MacColl Electric Landlady (A&M=Vlrgin) 45 Fastbacks Never Works Never Falls (Revolver=Blaster) 4eChrls&Cosey Pagan Tango (Cargo=WaxTrax) 47 Grapesof Wrath These Days (Capitol) 4aPereUbu Worlds in Collision (Polygram=Polydor) 4» Swamp Terrorists Grim-Stroke-Disease (Machinery) so Gumball SpecialKlss(Caroline=PrimoScree) •1 VarlousArtists Sometimes I Wish I Was Famous (Energy) •2 KlngMisslle The Way to Salvation (Warner=Atlant!c) ss Walkabouts Where the Deep WaterGoes(SubPop) •4 VarlousArtists Eye ofthe Needle (Vagrant) H Jello Biafra I Blow Minds fora Living (Alternative Tentacles) M Mikey Dread Profile (Ras) «T Definition of Sound Love and Ufe (Virgin) M VenusBeads Incision (Car_o=Roadrunner) M Bone Club Bless This (Rocket Sound) ••Lustmord DV 04 (Dark Vinyl) •l Slawterhaus "Uve" (SRI) •2 Nausea Crime Against Humanity (Cargo=Nuc!ear Blast) •• Skin Yard 1000 Smiling Knuckles (Cruz) •4 VarlousArtists First Family of Reggae (Splnner=Shanachie) ••Coil Love's Secret Domain (Cargo=WaxTrax) ss LosFolkloristas Mexico! (Festival=FlylngFish) •7 A-Bones The Ufe of Riley (Norton) VarlousArtists On Another Planet(Black_Nolr) Dorothy Masuka PataPata(island=Mango) 7» Threshold Within the Expanse (Cargo) 71 VarlousArtists Indie Can 1991 (Intrepid) 72 Salif Keita Amen (Mango) 7» Minutemen What Makes a Man Start Fires? (SST) 74 Aster Aweke Aster(Sony=Columbia) 7« Daniel Johnston Continued Story (Homestead) 7« Big Audio Dynamite II TheGlobe(Sony=Columbia) 77ManoNegra King of Bongo (Virgin) 7» Baaba Maal Baayo (Island) 7» Choice The Big Payback (Round the Globe=Prlortty) •o Ned's Atomic Dustbin GodFodder(Sony=Columbia) aiMeshuggah Contradictions Collapse (Cargo=Nuclear Blast) %2 Pennywise Pennywise (Epitaph) •S Armand Schaubroeck People Would Uke... Armand... Dead (Mirror) •4 Iron Prostate Loud, Fast,and Aging Rapidly (Skreaming Skull) M Slick Rick The Ruter's Back (Sony-Columbia=Def Jam) M Jawbox Grippe (Dischord) Les Shaking Dolls God Is God (Black & Noir) Dinosaur* Fossils (SST) I Holly Arntzen HoHy Arntzen (Wamer) • VarlousArtists Golden Throate2(Capitol=Rhino) I Jazz Passengers Uve at the KnlttlngFactory (Knitting Factory) I Burning Spear Jah Kingdom (Arista=Mango) • ChrlsSpedding Cafe Days (Polygram=Hypnotic) i LigMnin'Hopkins Ughtnln'Hopklns(Fest'ivaNFolkways) iDefunkt Uve atthe Knitting Factory (Knitting Factory) • Phantom Surfers 18 Deadly On eel (Norton) r Kool Moe Dee Funke Funke Wisdom (BMG=Jive=Zomba) • Jlmmte Dale Gilmore After AwhHe(Wamen=Elektra) • Mikey Dread African Anthem Revisited (Ras) ...Intra In Caelum (SOV) lTerrorT "Shouts Out" 2 Show Business Giants. . • Windwalker "World Is Too Crowded" "Chains" 4 Shining Path "FaHlr«" • Perfume Tree "Dreaming" • Hollowheads "Strange Town" 7 Jellyfish Babies "Wanted Mm" • TenFeetTall "Beat ofthe Sun" • Fridge Magnets "WhoStote My Socks" 10 Skin Bam "Black" llWheatChiefs "Redeem" 11 Surfdusters l»Rumbleflsh "StrangerTMngs" 14 Show Business Giants.... "Let's Get Together M PaleFace "In a Semi-Mortal Mood" is Sand Dooms "66 Valiant on the Haunted Highway" 17Dogztlla "TV or Net TV" laHoofarump "Relapse" is Sister Lovers "Love Graffiti" 10 Gloria Blizzard "Let There Be Cockroaches" 21 Jack Feels Fine "Somebody Died on TV Again" U Pasties "KnYoM-ma" is The Brave & Foolish "A Place Down Here" 14 Ten Feet Tall "1 Used to be Crazy" ic Garden of Earthly Delights.. "Wlldflower" l«Mary "Police Hunt" 17 Partial Patsy "Female Sex Organs" MWetSpots "1 Wanna Know" se Hollowheads "Why Did You Come Here?" •2 Hitting Birth "Love Me" M Citrus Park "Engle'sBay" •4 Green House SB Sludge "Victim of Circumstance" "Have You Died Yet?" OTSadHappy "Accidental Family" *»8MilesHigh "Animal" ••Groove Ranch "CoidWar" 4«60CycleHum "Race is the Place" 41 Jane Hawley "As We Walk on Thin Ice" 42 Evaporators "Vampire Blues" 44StfckFarm "I'm Confused/Scrum" 4« Low Noise "Wisdom Without Knowledge" 4« Glitch "Krypton" 4» The Worst "She's Wrong" si The Suns "RunntegFree" •2 Ngoma "Need" M Solid States "Training for the Grim Reaper's Job" ••Amy Den io "1 Wear Guns When I'm Dancing" 54 Smokin' Rhythm Prawns.... "BlgShrimp" 87 Sludge "Bamboo Torture" ••Action Buddie "AmlWastlngTIme?" ••No Fun "The Pink Crypt ••Twitch "Melt Down" •iThelndecisives "Good Intentions" •2 Chris Meloche "Serious Distraction" ••Pee Wee Manson "Do What You Do" •4 Masochistic Religion "MadJullanne" ••Bluchunks "Hey Sam my" ••Eye on You "SkunklnTown" •7 Rhino Humpers "FamBy" ••Unearth "Chicken Man" ••ClubDD "Welcome to the DrugWar" 71 Third Stone "CallMeaCab" 72 Death Among Friends "Bad God" 7»Thei4tnWray "The Man Who Uves Next Door" 74 Ron Vader & Paul Ames.... "My Princess" 7« Wingnuts "HI Honey" 7« NoFun "EnteringBlklnlArea" 77 John Oswald "Plunderphonlc Example #8" 7« Uneven Steps "World WarThree" ••The Worst "Creepy Thing" •lLikDirt "Sweet Ecstacy" •2 Dose Pump 'Kiss Me (with My Clothes on)" ••Hollowheads "1 Haven't Got AnythlngYet" •SCryptones "Lollta" M Sebadoh's Sentridoh "WlnStow" ■•WckrSpgt "A Thousand HaD Marys" •7 Screaming Daisies "Caught within Your Game" ••Scarlet Drops "Early In the Moming" M Digital Poodle "Raw" M Intoxicators "Alley Cat" •4 Picture Paintings "The Man Who Would be King" if) MJho Nek Bone "Judge and Jury" *fl ••Eden'sEnd "Things WIN Change" ro 3 •• That Melancholy Dream.... "Model Image" . M Busker's Soundcheck "Diamond" 10 M Big Kitchen "Flesh and Blood and Huge Chunk* of Meat" ►* a_^__35_3f BY G. WILVSMN AND 7. BODNER [HEYJ UHATAYA ) Becmstw \JflCKCrSTOo s J) A/EW AND I [VOHTWWT -^PEOPLE TO W\zJMGH hHk I ^tW/nr w l Ax AFFORDABLE ALL TICKETS $8 OR LESS. RUSH TICKETS $4. THE FRINGE-OFFERING WORLD CLASS THEATRE AT A PRICE THATS AFFORDABLE FOR ALL ** ACCESSIBLE BIKE, HIKE, BUS OR DRIVE. FESTIVAL SITE IN THE HEART OF HISTORIC MT. PLEASANT AT THE CROSS ROADS OF MAIN AND BROADWAY. NO DRESS CODE. ADVENTUROUS DRAMA, COMEDY, DANCE, CABARET, MUSIC. INNOVATIVE NEW WORKS, RESPECTED CLASSICS. ITS ALL AT THE FRINGE. OVER 575 PERFORMANCES OF OVER 100 DIFFERENT PRODUCTIONS IN 10 VENUES. PICK UP YOUR PROGRAM GUIDE FROM KEY LOCATIONS THROUGHOUT THE CITY OR ON SITE AT THE FRINGE CLUB (2655 MAIN ST., 3RD FL.) AND AT ALL FRINGE FESTIVAL VENUES. FOR INFORMATION CALL 873-3646 Z Monday to Wednesday 10:30-7:00 LU Thursday and Friday 10:30-9:00 Li Saturday 10:30-6:30 0 Sunday 12:00-6:00 1869 W4th Avenue, Vancouver BC 604-738-3232 NEW SOUNDS OLDENGLAND These are some of our favorite new imports from UK artists, all on sale until September 15th. (If you don't know them already, come on down to Zulu and listen to them, or any other cd in stock, on one of our in-store cd listening booths.) GaryClail ® Emotional Hooligan Northside ® Chicken Rhythms (available Sept. 5th) \ Chapterhouse ® Whirlpool Mock Turtles ®TurtleSoup The Orb ® Adventures Beyond... Ned's Atomic Dustbin ® God Fodder Primal Scream ® Come Together EP (6.98-cd only) ® Higher Than the Sun EP (6.98 - cd only) Not UK bands, but great releases nonethless! Meat Puppets ® Forbidden Places This great American band has been around a number of years, and have now jumped ship to a major label. Hear their debut Polygram release. Michael says it rips ! ! Miriam Makeba ® Eyes on Tomorrow Her first recording since she returned to South Africa features Dizzy Gillespie, Nina Simone and Hugh Masakela. Grant says it swings bigtime. "Tell your bands to write some real music." - Paul Barker, Ministry Did you ever wonder what you get when you cross the 700 lbs. of heavenly joy called TANKH06, the hot and sweaty song stylings of WINDWALKER, and the hyper-agro-industrial chainsaw massacre that is MINISTRY? Probably not, but Rand did... Next thing you know, there's Mint Records' debut release, The MintlsA Terrible Thing To Taste. Featuring Windwalker performing "Burning Inside" and Tankhog with "So What", this fabulous 7" single is pressed on gimmicky mint coloured vinyl, and is available for the month of September at the zany ultra-low price of... ^ AOI __i_*70i are they? many a moon ago, Vancouver's SLOW broke up. The rhythm section formed TANKHOG and released a cd/cass on Zulu Records a few months back. SLOW vocalist Tom Anselmi and guitarist Christian Thorvaldson now return with their much anticipated release in the form of circle c . They have signed a worldwide deal with Geffen Records and Zulu will have initial import releases of circle c in the store on September 5th and offer it to you at the remarkable price of... 14.98cd / 8.98cass for the whole month of September. We've uncovered a hondfull of sealed copies of the coveted SLOW "Against the Glass" EP. With any purchase of a circle c cd/cass or Tankhog cd/coss during the month of September, we'll enter your name in a draw for these remaining copies. Don't miss out!
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Discorder CITR-FM (Radio station : Vancouver, B.C.) 1991-09-01
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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 | 1991-09-01 |
Extent | 40 pages |
Subject |
Rock music--Periodicals |
Genre |
Periodicals |
Type |
Text |
FileFormat | application/pdf |
Language | English |
Identifier | ML3533.8 D472 ML3533_8_D472_1991_09 |
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 | 10.14288/1.0050724 |
AggregatedSourceRepository | CONTENTdm |
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