Perryscope Productions Presents £_^°_QS__S CONTENTS SEPTEMBER • 1990 Issue #92 SON, WE NEED TO TALK The Man Sherbet casts a critical and moralistic ear towards "classic rock" 6 THE SUNDAYS They're nice, okay. So what's wrong with that? 9 SONIC YOUTH Steve Shelley talks to a voice 11 JOHN DOE Tex Hohm chews the fat with the ex-punk rocker turned roots rocker 13 ALL They really don't ever stop 15 UZUME TAIKO Japanese taiko drumming is given a lively twist by these locals 16 BRENDA WONG AOKI.... Avant garde performer or modern story teller? You decide 17 ICE-T A nigger with an attitude 20 EDINBURGH PART II - THE METAL WEEKS Goth is dying; metal is queen - by Christopher Kovacs 38 AIRHEAD They hate us, they hate us, they hate us - So can you! 5 LOCAL MOTION Let's get Janis - she listens to everything!! 19 UNDER REVIEW We listen to 'em, we write about 'em, you read 'em. Simple 25 REAL UVE ACTION Suicdal Tendencies, Escape From New York 27 HELL'S KITCHEN Viola gnaws on some 'za 31 DISCORDER DATEBOOK What's on, what's hot, what's hip and what isn't 35 ON THE DIAL It's like TV Guide, but it's for radio 36 SPINUST New names but it's the same. Sort of 36 SOCIALIST TURTLE Colin Upton 29 DANCING ON THE CLOUDS Marc Yuill and Julian Lawrence 32 BORDUM Bryce Rasmussen 34 FOR OFF CE USE ONLY EDITOR K. Michael Smith ART DIRECTOR Geoff Coates DiSCORDERLY ORDERLY Robynn Iwata EDITORIAL ASSISTANTS Chris Buchanan, Viola Funk, Usa Marr PRODUCTION ASSISTANTS Usa Lutman, Lydia Schymansky WRITERS James Boldt, Pat Carroll, Viola Funk, Brian Hohm, Randy Iwata, Michael Klassen, Christopher Kovacs, Janis McKenzie, Peter Sickert, Erik Thorkelsson, Bill Tzotzolls PHOTOGRAPHERS G reg Elsie, Audra Nell, Leonard Whistler GRAPHICS Geoff Coates, Kyle Morales WORD PROCESSING Randy Iwata COVER PHOTO Greg Elsie SPINLIST Randy Iwata ADVERTISING Bill Baker ADVERTISING PRODUCTION Bill Baker LOCAL DISTRIBUTION Matt Stefflch SUBSCRIPTIONS/MAIL DISTRIBUTION Lydia Schymansky PROGRAM GUIDE/DATEBOOK/DELIVERY FRIEND Randy Iwata ACCOUNTS Unda Scholten TECHNICAL SUPPORT Ted Aussem PUBLISHER Barbara Elgood DISCORDER Copyright 6 1990 by The Student Radio Society of the University of British Columbia. All Right* Reserved. Discorder is That Magazine from CiTR fM 102, and ii published twelve times t year by The Student Radio Society of the University of British Columbia. Discorder -printed in Canada on paper manufactured in Canada. Discorder prints what it wants to, including the CiTR On rhe DiaJ program guide and t>_ CiTR SpinList playlist chart. Circulation is 20000copies distributed free of charge to over 230 locations. Twelve-month subscriptions are $15 in Canada, $15 (US) to the US, and 524 elsewhere. Please make cheques or money orders payable to Discorder Magazine. 'I think I know you. Yes, I know yoa'-H.Rotliiu. Deadline for ads and submissions is the 15th ofthe month. Talk to us - we want your stuff: if we like it, well use it. Ifnot.wcll CM from UBC to Langley, Squamish to Point Roberts, but not a Mobile Sound Rental are Mon- Fri, 1 Oam - 4pm (please avoid Friday afternoons). Call the CiTR/Discorder Office at 228-3017fc Mid circulation enquiries; CiTR News+Sports at 222-2487, or the CiTR DJ line at 228- CiTR. Write to us at 6138 SUBBlvdVi ShawCi NETTWERK PRODUCTIONS AND CITR PRESENT MC 900FT. JESUS with DJ ZERO WITH SPECIAL GUESTS FROM SAN FRANCISCO THE RETURN OF CONSOLIDATE WEDNESDAY SEPTEMBER 12th t_I"S^_E__ A_T THE LUVAFAIR 1275 SEYMOUR AT DRAKE TEL.685-3288 TICKETS AVAILABLE AT TRACK RECORDS AND LUVAFAIR UNDERSTAND? . Dear Airhead, A little note to Zoe Annastasia: Read here and have knowledge, babe. The Mission is a damn jokey band, and including them with true hipsters Bauhuas, The ^ Cure et al and that whole gloomy scene...Well why not include Josie and the Pussycats to your list? The Mission are about as Goth as Loverboy is speedmetal. You're pretty young, right? Next time, when 0 jumping someone else's train, at least try to catch the caboose. Yours in nothingness. Negative Man '<- Negative Man...are you that superhero that's so smart your head hurts? Well, thanks for sharing. DJ SOUND WAR CHAPTER ONE is Vancouver's first full-fledged rap and dance music competition happening September 7th and 8th at SUB Ballroom, UBC. This event is your opportunity to check out the best and newest local talents in hip-hop, house and reggae dancehall music. Following in the greal traditions of Jamaican and New York DJ and MC battles, DJ Sound War is unique in that it features a variety of different musical styles coming together in an all-out sound clash. Fueled by the intense energy of Vancouver's budding young dance music scene, DJ Sound War will provide the potential for unique and exciting new sonic adventures in the increasingly rhythm-conscious world of the 1990s. Entrants may compete in any of four categories: DJ, MC, Dancers and Groups (or "Crews"). The DJ, MC and Dancer competitions are scheduled for Friday, September 7th and Groups are scheduled to compete on Saturday, September 8th. All ages welcome. Admission $5 at the door. The deadline for entries is August 31st, so if you're thinking of entering, call CiTR at 228-3017 now! DJ Sound War Chapter One also features a panel of distinguished local judges including: Michael Shea (Graceland/Infinite Beat), George Barrett (CiTR/Barrett Electronic's), George Maniatis (Nettwerk), David "Love" Jones, Chris Wong (Georgia Straight), Stan Strong (EQ), Vanessa Richards (Bolero Lava), Earl the Pearl and Don Chow (CiTR/Home Taping International). Rules for Dancers * Dancers may compete individually or in teams. * Dancers will supply a music track of a maximum length of five minutes on cassette or record. * Dancers will be judged on technique, timing, originality, presentation and audience response. * 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. * In successive rounds, MCs will be required to perform to rhythm tracks of 60-90 seconds in duration as decided by the judges. Each MC will have a choice of hip- hop, house or reggae style backing tracks in each round. * MCs will be judged on delivery, lyrical content, originality and audience response. * DJs will compete individually in elimination rounds until a winner is declared. * DJs will perform in rounds of 90 seconds to 3 minutes in length as decided by the judges. * DJs may use turntables, tapes and other sound sources but must provide 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 response. * Group entries may comprise any combination of the other three categories. * Groups will perform one set of 10 to 15 minutes in duration. * Groups will be judged on performance, originality and audience response. NOTE: Rules are subject tc >r changes pending final approval by the judging staff. Zulu Records X Back to School Sale J (You don't even have to be a student!) ANY NEW CD(s), CASSETTE(s) OR LP(s) 10%OFF WITH THIS COUPON ^- 20%OFF '■^ VALID SEPT. 1-15 WITH THIS COUPON VALID SEPT. 1-15 ANY USED LP(s), NOT INCL. COLLECTOR'S LPS TAMANHOUSTHEATRE JESUS DOES LAUNDRY TOO by Sharon Bajer. A workshop production. An eastside laundromat. A tattered garbage bag full of soiled souls. Ruby's laundry Palace is the setting as Jesus Christ takes us through the wash and spin cycle of life. Everwonder where the missing socks end up? We might have the answer. Tickets/Info: 688-8399 Sept 27, 28, 29. Oct. 4, 5,6. Tickets $7 / $5- "SON, INT __=__= ID TO TALK!" By the Man Sherbet In recent years, "concerned parent" groups have cropped up, intent on silencing music's raunchier players. Bickering between the defenders of morality and the defenders of expression ensued and continues unabated. Bowing to pressure, record companies began policing their own material, attaching warning labels toproductlesttheoddW.A.S.P. or 2 Live Crew consumer was expecting a walk in the park. But why the fuss? Foul- mouthed singers and blatant lyrics come and go; they're as old as music itself. Nasty material has never gained a foothold within mainstream "classic rock" tastes anyway. Or so we thought. Discorder's staff turned a critical ear towards the classic rock lyrics. Our findings were disconcerting. The truest paean of decadence and turmoil was 6 DISCORDER the grand old man of rock songs. Led Zeppelin's "Stairway to Heaven." After our research and well-reasoned speculation as to the song's meaning, we reached the conclusion that there is need for concern, if not moral out-' rage, over what is being sung As has been the case in every such survey of its kind since 1972, "Stairway to Heaven" was the number one song of C-FOX FM's annual Top 500. In Seattle, KISW's twice as good Top 1000 countdown rarely surprises because Zep beats 'em all there, too. Clearly, a lot of people think this is a damned important song. When word broke that we'd be tampering with "Stairway," revering fans fired angry letters and threats to Discorder. Our magazine would never condone censorship, but it cannot turn a blind eye to corruption. Just how many of us have been pushed of f our truer course through repetition after repetition of Zep's tour de force entered our consciousness? The effect could be subtle and harmless: a twelve year- old hears "Stairway," thinks "Wow! what a song!", then nicks a candy bar from a shop. But the other extreme is chilling: one moment a roomful of swaying suburban Zep fans are "partying down," the next moment they're out "wilding" at a nearby mall. It's time for Jello Biafra and other advocates of free speech to get off their high horses. Everyone should stop shouting and just listen. Consider the effect "Hey, hey, Mama/ Said the way you move, etc." might have ifyou hear it enough times. And who hasn't? It's too late for many of us, but let's respect posterity. Padlock your vinyl collection if need be. Kids should be started slowly with, say, Neil Sedaka records, with elders explaining what it all means, like with the facts of life. So when they finally hear, for instance, "The Lemon Song," they can say, "I'm hip, this stuff is naughty." Pre-schoolers deserve the same attention. They might not understand, "Don't play my Marvin Gaye records. Sweetie." But try those "Mr. Yuck" decals you slap on bleach bottles under the sink. For young kids, Mr. Yuck means "Don't Touch!" Be assured, they'll stay clear of any Slade or Billy Idol LP you've left lying around. - the Man Sherbet. II. "I'LL BUSTLE YOUR HEDGEROW, MISTER!" Finally, the definitive explanation of rock's definitive bombast. Led Zeppelin were ahelluva band. Truly. The concerts they put on in their early days reportedly left audiences weakened. Not only did they do super-charged renditions of their own material, they tossed in thunderous rock'n'blues boogies to round out their sets. Tour after tour, even night after night, they came up with a new plan to thrill concert-goers. Stadium shows today are all calculated overkill. Zep shows by comparison were stripped down and sinewy. Zep were just four underweight English lads, badly in need of dental work: Robert "Percy" Plant, John Paul" Jonesy" Jones, John "Bonzo" Bonham, and James Patrick "Jimmy" Page. They turned up the temperature of music. A lot of white kids got hooked. It was said, "Led turned into gold." Behind the glorious image, however, lifestyles slowly went awry. The money flow let band members indulge themselves. Record and tour profits paid for a lot of vintage autos and open bar whoop- em-ups. The most conspicuous purchase of all was a castle in Lelawcge-an-bryn, Wales. Reportedly, guitarist Jimmy Page paid cash for his royal abode. The castle and the surrounding county, a supply of Zeppelin groupies, and a team of apprentice carpenters provided the ambience in which Robert Plant penned "Stairway to Heaven" in the spring of 1971. It was a time of confusion and introspection for the young crooner, not helped by the giggles of girls, and the whacking of hammers. FOOTNOTES Erma Rees-Gwynn, a Welsh div arting ber own carpentry contra ie was recommended (some say a rcee Intent ting bu&lnes *, actor Richard Har 5. In order to secure the landing at the second floor, Erma's crew had to enter Jimmy's so-called "Guitar Room." The sign on the wall said "Keep the Fuck Out - Everyone!" These words don't have two meanings, do they? Well, Erma let herself In anyway. Only two double-necked Gibsons ont of Page's reputed collection of 75 guitars conld be found in the room. This was his Occult Room, full of red satin furnishings and things with horns on them. 6. Reportedly, Jimmy was out on his property, singing In his favourite tree, when he saw Erma's helper hanging out of the Guitar Room's window. His berserk ranting ("misgiven thoughts") could be heard in the next county. 3. This means "building" a stairway to heaven, or, more likely, buying the materials for the stairway. Erma was contracted to build a three storey high deck In back of Page's castle. The plans were for a second- floor landing, and steps leading up from the back vegetable patch. Plant once described Lelawege-an- bryn as "heaven." The staircase when completed would be a stairway to view heaven If you climbed up tt, or going down, a stairway to carrots and peas. 9. It's likely Plant spend as much time wondering about things as It took for him to write this line. 11. The "May-Queen" was May-tag's laundromat- sized washer/dryer combo ordered in to handle hotel- sized loads of laundry being done at Page's castle. Jimmy wus promised a money-back warranty on the set if be wasn't satisfied. The "two paths" were whether to keep or return them. The warranty gave him time to change the road he was on, you see. 13. Jonesy** s going back to London and asked Plant to come along. 15. Jonesy and Plant hit the road in John Paul's Stutz Bearcat. By coincidence, they came across Erma waving a flashlight, trying to hitch out of Lelawcge- an-bryn County. After the sundeck fiasco she gave up on carpentry, and was leaving for a cousin's residence in King's Cross. "Everything still turns to gold," she promised, boasting ten thousand pounds profit on the Page job alone. There's a lady (1) who's sure all that glitters is gold (2). And she's buying a stairway to heaven (3). And when she gets there she knows if the stores are closed. With a word (4) she can get what she came for. There's a sign on the wall but she wants to be sure. Cause you know sometimes words have two meanings (S). In a tree by the brook there's a songbird who sings sometimes (6). All of our thoughts are misgiven. There's a feeling I get when I look to the west. And my spirit is crying for leaving. In my thoughts I have seen rings of smoke through the trees (7). And the voices of those who stand looking. And it's whispered that soon if we all call the tune. Then the piper will lead us to reason. And a new day will dawn for those who stand long (8). And the forests will echo with laughter. And it makes me wonder (9). If there's a bustle in your hedgerow don't be alarmed now (10). It's just a spring clean for the May- Queen. Yes there are two paths you can go by. But in the long run. There's still time to change the road you're on (II). Your head is humming and it won't go - in case you don't know (12). The piper's calling you to join him (13). Dear lady can you hear the wind blow. And did you know your stairway lies on the whispering wind (14). And as we wind on down the road. Our shadows taller than our soul. There walks a lady we all know. Who shines white light and wants to show. How everything still turns gold (15). And ifyou listen very hard the tune will come to you at last. When all are one and one is all (16). To be a rock and not to roll (17). And she's buying a stairway to heaven (18). 2. This Is a bit of Plant's Irony. In other words, if it didn't glitter, it probably wasn't worth much. Erma and her assistants reportedly broke and scratched a lot of valuables carrying lumber through the rest- 4. "Foreclosure." The small Welsh town In the district had only one hardware store and the owner was on a ; picnic with his family. Erma complained to Jimmy about not being able to get screw nails. So Jimmy j called a couple of local aldermen he had In his back j pocket in order to get the damn store open. The store j owner soon received the politicians' threats and cut short his picnic. 7, West of Page's property, beyond a neighbour's forest grove, there was a coal-burning power plant. Apparently the tons of sulphur-rich deposits pouring from Its stacks disheartened Plant. One day Percy got pretty inebriated, and schemed that they should all protest until the plant was shut down. Why not get all the girls, the other lads, and large-flsted manager Peter Grant out blocking their gate? "Great idea," one of the girls responded, "but how are we going to keep the stereo going, or even have hot baths without power?" This comment silenced Plant's protest. 8. Jonesy was the true all-round musician of the group. Before Led Zeppelin the bassist/keyboardist extraordinaire wrote and arranged some of Lulu's best work, Including "To Sir with Love." Whilst up at Page's castle he tried to form a little choir he wanted to call the Zepettes. Singing careers could've meant a "new day" for the girls, but none could carry a tune. The neighbours watched as they rehearsed In vain, hence the laughter echoing In the forest. 10. It's said a lot of clothes were found in strange places after their infamous Victorian dress-up parties. 12. This was one of the worst hangovers Plant ever had. 14. Actually, your stairway, and the whole damn suhdeck lay on the ground. A spring torrent ripped through Great Britain that year and destroyed Erma's shoddy work. 16. A sarcastic hit of advice from Percy to the Zeppettes: just keep practicing, girls. 17. Plant decided to be u rock, if not a lump of clay, and stay borne with bis wife and family until the next tour. 18. Lost heard from, Erma was in the Bahamas. "And she's buying a ticket to Nassau." for the last : ten years. Nobody, nobody asked him to take the ture recordings, Plant will rently deciphering "class ^ulu herself, seems job. He's the most successful continue to be popular and rock" lyrics for a conservi Jimmy Page now resides soundtracks. John Bonham alone in his castle. He remains died in 1980 after an alcohol intheresavewhenhe'scoaxed binge at Page's castle. John outforsatellite-transmittedZep Paul Jones has tried to get reunions, or Death Wish movie Lulu's career off the ground t even Lulu herself, seems to be interested. Robert Plant has become one of the elder statesmen of rock, although job. He's the most successful beneficiary of retro-Zeppelin hysteria. And as long as he keeps Phil Collins off any fu- to be popular and rock" lyrics for a conservation, tive thinktank. He is also • preparing a supplementary *** the Man Sherbet is cur- back-masking guide. SEPTEMBER 1990 7 ® © Y 1 0 M P © ^ TT VANCOUVERS ALTERNATIVE RECORD STORE DOWNTOWN . VANCOUVER 534 Seymour St. 669-6644 RECORDS • CDS • CASSETTES RAP • REGGAE » POP * HOUSE * JAZZ » SOUL » ROCK » BLUES T1I1S COULD BE YOU. Join CfTD and we'll shrink you lhi_ email and make you ait forever in an ad in Discorder. Get involved in radio. Join CfTD. CaO .28-3017. BLACK ORPHEUS Sio Wo-rsPRitsIGS ROAtJ H ARfVi 5 ONl-VtoTSPRtoG-ST* B.C. open tlAfn-MiDNIGHT (to*) ?%-?*_- The Sundays are nice people, who've made a nice recoTd and recently put on a nice show. They began when David Gavurin and Harriet Wheeler were attending university in the Nice English Town of Bristol. ("English Lit," says she and makes a face. "Spanish and French" says he, seemingly less embarrassed by his post secondary choices.) "We were writing songs with my four track recorder and our friends said [it sounded] pretty Jjpod. I usually start with a bit of something, aguitar lick, or a drum part and then from there. Once that's play it for Harriet and she comes up with a melody... with a little help from me. Then we say wail- something's missing and we write the lyrics." "Yeah, we are always happy with the completed songs, the ones with something wrong just don't get finished," adds Wheeler. They then snagged a bass player and drummer (Paul Brindley and Patrick Hannan) to back up Gavurin's guitar and Wheeler's vocals and journeyed up to London. ^.**am+dtti.' ■ *>■' I should add here that these two live together and (I'm guessing) are married. Throughout the interview David continually played with his wedding (?) ring. Pulled itoff one finger, tried it on another, placed it back on the first finger, pulled it off again and so on throughout the in terview. Harriet was the picture of low key British charm, sitting on the couch next to David, legs tucked under her, with her hennaed hair up in a loose bun. He did most of the talking."We had this vague sort of plan to play a few shows and then try to... well, it was a vague plan." The plan was overrun by events. "Our first show was reviewed by the music papers and after that the record labels came looking for us. They'd ask if we had a tape, and all we had was this hissy four track," recalls David, the ring at this point appear- on the end of his thumb. "It's all youreally need. It lets the A&R people think they're discovering something," adds Harriet. So they spent a lot of 1988 negotiating with record companies and then recording the debut album, "reading, writing and arithmetic" (available in North America from the friendly folks at David Geffen Records, owned by the nicely wealthy David Geffen). Those of you who've never played in a band and then attempted to get someone to pay for your album i.e. get a record contract, no matter how small, can't possibly imagine how unlikely this would be in Vancouver. I can't remember the last time a local band got signed after playing one gig in, say, Toronto. Not to discourage those of you in bands, f things like this don't hap- untiy with too much g raphy and too few people. Anyway, The Sundays are still talking and David's ring is still shifting position. "The 'studio' is a very sterile place", notes David. "And we prefer working in the back room of our flat; it's dark and damp," continued Harriet. "But the roof collapsed the day before we left to go on tour," both at the same time. "I hope it's not an omen," said he. 'The Natural Disaster Tour '90?" suggests Harriet. *^_^| Uhm...So the studio is a sterile place? "Oh well, 1 don't want to make it sound like it was completely unpleasant," said he, the ring back on its original finger. "It's just that our four track tapeshad a quality that we liked. We recordedHarriet's vocals through this mike ft friend of mine stole years ago and then we ran it through the echo peddle for my gui- "Once we got in the studio we couldn't get the same feel," said she. "It was all just too dry and clean." "We tried using the set up from the four track but it just didn't work either," continued he. "We ended up using a tape delay for the vocals, which is a kind of old fashioned effect." Gavurin recalls similar adjustments being made throughout the recording. "So after you spend hours and hours getting the sound you had unintentionally recorded back on the four track, you just don't feel like playing anymore. So it's quite hard to get the sound you want with a good performance." By comparison, they are ecstatic about the album's cover. "It was a case of meeting a deadline in the studio. Sort of, they want it now? Oh Shit!" said she in her very proper accent. "We took the photo of the fossils," adds he. "We diditourselves;itjustwenttogether. Very satisfying compared to the recording." He's probably overstating the case here. _■!__ The album is a collection of beautifully understated pop songs featuring Wheeler's fragile voice and Gavurin's chorused pseudo jangly guitar. Obvious comparisons would be to a sober Sugarcubes or a less orchestrated New Bohemians. When it arrived late last year we cynical music fans out here at CiTR quickly labeled the record as nice but forget table and placed it (metaphorically) with previous Brit non-starters (in North America) like Aztec Camera Beautiful South, Lilac Time, Pah Fountains etc, etc. (I tried to interes people in it by claiming it was "fac< ripping metal, faster than Megadeth, scarier than Venom and better than Motorhead." It didn't work). C( mercial radio stations still don' t play it andevenMuch Music (which actually plays a reasonable variety of stuff in between New Kids and Janet Jackson videos) hasn't shown much Meanwhile, people who actually have to pay to own records or go see bands play live, decided they liked The Sundays. In "Industry" talk, the release is a sleeper. This quiet, nice little English band has placed itself in the bottom half of Rolling Stone's chart and had reviews which claim they'd be the best band in England if The Cure would just break up. Locally, people ask what it is when they hear it, some stores can't keep it in stock, and their mid week show at the Town Pump late last month was more than sold out. Live, The Sundays are an extension of themselves on record. Casual, relaxed and captivating. They wander up on to the stage, plug in and begin. Gavurin and Wheeler, still dressed in the clothes they wore that afternoon, lead the band through the set, covering most of the material on the record. The audience stands and lets it wash over them. Well, except for the soon-to-be passionate couple in front of me who were yelling sweet nothings into each others c. s. ("1 think you're the strongest boyfriend I've ever had!" said the girl to the boy.) And then there was this other guy who kept yelling "Harriet!" despite the fact that David's wedding (?) ring was clearly visible. Still, it s all kinda nice. CiTR 101.9 fM PRESENTS OO S O U N WAR CHAPTER ONE BATTLE FOR THE TOP DJ'S, MC'S, DANCERS, CREWS SEPTEMBER 7 - 8, J.990 ALL AGES SPECIAL GUESTS (MON THE 8TH SUB BALLROOM UBC (LOCATED ON THE 2ND FLOOR OF THE STUDENT UNION BUILDING) ADMISSION $5 PER NIGHT AT THE DOOR (DOORS AT 6PM, STARTS AT 7PM) __gemini SPONSORED BY EHZSESa E33H sSa PTaT| PolyGram >i COMMODORE odv____ irn?o-t_i &***■ REPAIR I SALES CiTR 101.9 fIVI, 6138 SUB Blvd, CiTR 101.9 fM PRESENTS CBS ■'J-i.iJ.iimj (n)ETTWERK MCA RECORDS "C , BC, VeT 2A5 Yikes! It's Shindig! CiTR's annual local band competition. Every Monday night from Sept.1 Oth to Dec.10th (except 0ct.8th) at the Railway Club (579 Dunsmuir), come see three different rockin' combos battle it out head to head in a fierce, heated musical discussion. SepUQth BENT, ELBORE JAMES, THE VASECTEMOIDS Sept.17.li * PICTURE PAINTINGS, SUN DOG SUN, TOXIC JIMMY Sept.24th BARON VON FOKKER, DARKLING THRUSHES, PHINEAS GAGE Oct.lst FIRST ROUND OF SHINDIG SEMI-FINALS For more info or to enter, call Robynn at 228-3017. (Note: line-ups are listed in alphabetical order.) ^Os^ilj^ STEVE SHELLEY RESPONDS TO A VOICE Imagine one early evening in August. Steve Shelley is sitting at a table in a darkened hall on the tourist trap strip in Sacramento, California, sipping aCoke while Thurston Moore, Lee Renaldo and Kim Gordon twang away during sound check. Steve is taking a break from beating the drums for awhile, preferring to sit and watch the action. Sonic Youth are almost through their North American tour in support of "Goo," their seventh album since Sonic Youth's birth in 1981; their first one since having signed with David Geffen Company in the fall of 1989. Imagine a bearded man comes over to Steve's table and says something to him. Steve sighs, gets up suddenly and goes to a phone. Imagine, after a minute of clicking and silence, the following takes place. Voice: How do you respond to Thurston Moore's assertions that Sonic Youth "just outgrew each record company" and that an upward major label change was necessary? Steve: Well, all of those labels that we were on we were really into. We are very supportive of them. We were really glad to be on those labels, but there came a time when we outgrew them. Blast First was our label for quite a few years in Europe and also for "Daydream Nation" in the United States along side of Enigma. We worked with all those labels and grew. There just came a point when the label just couldn't keep the records in the stores. We'd be on tour and kids would come up to us and say, "Where can I buy your record?" People couldn't keep it in print and they had a hard time paying us when they did sell the records. And so that brought us to the point of being on Geffen and I don't know what will happen from there. The records are in the stores. We're having a hard time keeping the vinyl available, but we're working on it. People have been writing us and going, like, "I can't believe it, but I found your record in a shopping mall or whatever. I'm so psyched." So far it seems to be good in that respect. Voice: How do you respond to charges that Sonic Youth has sold out even though/in spite of the fact that Geffen A&R man Gary Gersh had stipulated that the band would retain full creative control? Steve: Well, that's a good question: "How do you respond?" Idon'tknow. It's obvious that we haven't sold out. We're doing whatever we feel like doing. That's always been behind the band. Just to go and do what we want. And selling out, Idon'tknow, it seems to project a feeling of having lost your original motives and vision and whatever. That's not the case at all. We're doing exactly what we want. We haven't sold out our ideals to anything. We're not responsible to anyone except ourselves. People can say whatever they want but that doesn't affect how you feel. Voice: How do you respond to people who ask how long can Sonic Steve: Idon'tknow. I really don't know. Voice: How has the current American censorship lobby affected Sonic Youth? Steve: Thurston drew the "Smash the PMRC" logo that's on "Goo." We're musicians, and the PMRC has affected other musicians. We tend to take that personally because say, by today's standards, if we wanted to put out our old single "Flower Hallowe'en" on Geffen Records and put it in the K-Marts and everything, the PMRC would be d( .n on it. But that's not (he record we are releas ;ng today. It's like we want the freedom to do whatever we want, which we've always had. And the RMRC is i some sort o rality. It's i real moralit justcoverin that look na want to get involved. You can write Jesse Helms and let him know how you feel about these things. I really don't know what you can do that's going to make the most difference. You can vote for the people who are supporting the arts and who are supporting freedom. You can get rid of people who are not supporting whatever the personal freedoms you're into. And even by that, how far can you get by voting? It's limited. Voice: Public Enemy's Chuck D contributed some material to "Kool Thing." Do you have anything new and different on the topic of Chuck D, "Kool Thing," and "Goo"? Steve: On the whole "Goo" thing? Well, I don't think I have anything new to say about Chuck. You've pporting ilse mo- i even a they're p things Voice: Wha dowment of lation that a bout the National Ens' Arts and their stipu- tists sign documents proclaiming loyalty to the politic? Steve: (laughs) It's pretty frightening. It's comical. I guess it's going to make some people act up a little, which maybe isn't all that bad. It's been good for the art world in a creative way because the art world is getting pissed off, and they're doing something about it. It's a farce. I don't know what to say. It's too funny. I don't know how people can protest. It depends on how you heard the story. We were in the same studio, Greene Street Studio, and we just asked him if he wanted to do something on "Kool Thing." He's a very nice guy and he said "Yeah." And he did it in ten minutes and it was amazing listening to him put down his track. It was great. We liked those guys a lot and we appreciate some of the things that they are doing. Voice: Did/will Sonic Youth reciprocate vis a vis Chuck D on Goo? Steve: It's doubtful. We wouldn't be opposed to it. But they're really busy people. We're getting pretty busy. It's hard to cross paths. We were working at the same studio and it was a meeting point for both of us. I think we are much more aware of their music than they are of ours. It's sort of a one-sided thing. But the same people can enjoy both musics. Voice: What would be Sonic Youth's best opening band? What band arrangements exist on the current tour? Steve: It would be hard to pick out a best opening band. We've had a million opening bands. We always pick them all. Right away we start with bands we like. Bands that we are playing with now, hmram. On the east coast, we're playing with Bewitched and STP. Bewitched are a New York band fronted by Bob Bert who used to drum for Sonic Youth, and STP are an all-girl band from New York. Julie, who used to play in Pussy Galore, is in STP. Rightnow we're playing with Nirvana on the west coast. Coming up, we're going to Europe and we're going to be playing with These Immortal Souls which has Rowland Howard from The Birthday Party in the band, and Epic Soundtracks from Swell Maps and Crime and the City Solution is in the band. We're going to be playing with B abes in Toyland who are from Minneapolis. And when we come back to the States in the fall, we're going to be playing with Redd Kross, Laughing Hyenas, Gumball - which is a New York band with a couple of the guys from B.A.L.L., Jesus Lizard, Zebedo - which is an ex-Dinosaur band with Lou from Dinosaur. We've played with a bunch of live bands. Dinosaur were one of the better ones. Voice: How about bands that Sonic Youth have opened for? Steve: Not too many bands, actually. We don't do too much opening. We have played on festivals before. • In Europe, there are these festivals with ten bands in an afternoon. We played on a festiv al before Nick C ave and the B ad Seeds and that was pretty fun. There's not too many people we'd open for. Maybe Neil Young. Voice: Sonic Youth performed in Russia recently. Steve: That's right. It was alright. We had this weird situation where we would play in these mini sport arenas or large theatres which were really great and beautiful which could have sounded really great but we had hardly any sound equipment at all, which was frustrating. The actual playing was the least satisfying part of the Soviet trip. The education and the travel was pretty great. The playing was pretty disappointing because we had expected to go over there and do what we do on a good night on any stage in the western world, but it just wasn't possible equipment-wise. So you're playing and the drum kit is falling apart and that sort of thing. The PA was really small and it was hard to get the vocals through. Voice: What is a damn good night for Sonic Youth? Steve: A good night for Sonic Youth is hard to describe. The right energy; everybody who's playing feeling good and playing well and being able to hear and having an audience who's into it. Those are the best nights. And maybe just a little element of something going off a bit, something happening that you didn't expect. In LA, we had a great show in the Palladium. Voice: Who is Suzanne Sasic? Why is she called "stylist"? Steve: Stylist Suzanne Sasic is our lighting person. She's just a friend of ours, that's just there to be there. It doesn't really mean anything. She brought some of those clothes that we wore, but she's a friend of ours. She travels with us and does the lights and merchandise, but more than all that, she's a friend. Stylist was a fun way to put her down, to give her credit. That's all. That's all. Now imagine both parties bid farewell. Steve puts the receiver down and goes and returns to his seat, his drink fifteen minutes warmer. Thurston, Kim and Lee are now waiting for Steve so they can continue the sound check. By the time he picks up his sticks and starts hitting the drums, he has already forgotten about the previous quarter hour. He's alone in that respect. 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M5R 1J6 DEALERS CALL: TEL (416) 686-4263 FAX (416) 686-5010 hey do weird and exciting things with gees these days. Take I the chromosomes of one species and mix it with those of another. You get half llama/half camels; half water buffalo/half texas long horns. It happens with music too. John Doe, occasional lead singer and bassist for the seminal U.S. punk band, X, is a case in point. His voice has not changed from X's early albums, but these days you can find it superimposed over roots music. Fronting his own band Doe came through Vancouver on August 9th. His band was truly an all-star line-up, featuring Jon-Dee Graham of the True Believers and Richard Uoyd of Television. The two guitarists swapped complementary leads all night, laying down some of the best Texas boogie music I've heard since Calgary. Doe stuck to his own non-X material. On stage, he was down right prickly over references lohis other famous band. Doe responded to a question from the audience about the whereabouts of his X-mate Exene Cerenka with, "Exene's in Idaho. If you want to go there you'll find her." Later, to another question he said, "What's my real name? John Hitler, but I had to change it. No, actually it's Che Guevara." I spoke with John Doe before the concert. The interview meandered over Doe's various (Doe's had parts in "Great Balls of Fire," "Salvador," "Slamdance," "Roadhouse," as well as a cameo in Sandra Bemhard's "Without You I'm Nothing"). We ended up talking about current events. Doe likened the American military and its involvement in the Persian Gulf to a garage band. "I just think they're really happy that they got a gig. It's like a band that's been rehearsing for years and years and never got to play live." The interview began with John Doe talking about clearing customs. Earlier in the afternoon Canadian customs had made a fuss about the band bringing a few T-shirts across the border. It reminded Doe of a crossing he made once when the boarder guards wanted to seize some of his movie collection. Doe: I had a video tape called "The Honeymoon Killers" which is an old B-movie from the fifties and a Robert Mitchum movie about cowboys and rodeo called "The Lusty Men." They thought that this was a porno tape. I wouldn't let them take it. I said, "If you want to take this you're going to have to watch it and you're going to have to watch it now." Discorder: Are you comfortable with answering questions about X? A lot of guys don't seem interested in talking about things they were doing ten years ago. Doe: I'm proud of what X did. People don't like talking about that because it seems to be old jby jr. tt_e_:?c MOMTVX. looking forward. ing behind one record you're already thinking about what the next one's going to be about or what you're go- you're finished with this tour. Is it a matter of boredom loo, because you've already been asked all these questionabout... Doe: Yes, but you try to figure oul different aspects of the same question. Try to keep yourself interested by answering in different ways. Or just flat out What kind of questions do you gel asked most often? Doe: What was different about making this record than making an X record? Is X going to get back together? We never broke up. We see each other quite a bit when Exene is in town. X is on vacation - officially on vacation. How did you go about assembling your band? Doe: Kind of dumb luck, mixed with a bit of finagling here and there. Did you know Richard Lloyd from before? How do you people meet? Doe: Like anybody else. You just call them up. Say, "Hi, you don't know me but...", you know. Usually there are business people who call other business people first and they say, "I'm going to give Richard your number or vice versa. The odd thing was that Richard and I had never met before and that's peculiar since we travel in similar circles. Jon Dee Graham and I met about a year and a half ago and he and Tony Marsico, whol've known forever, since he was in the Cruzados, had been playing together for eight months before we started the record. We felt Richard would be a valuable addition, mostly 'cause of the difference in his style from Jon Dee's. Jeff Donavan is the drummer for Dwight Yoakum's group. Our producer, Davitt Sigerson, saw him doing another session and thought he would be just perfect. How was il putting these musicians together? Do ihey work well together? Doe: It seemed to become a band much faster lhan I hoped. I thought it was going to take a month or two in order for people lo stay out of each other's way. It happened much faster. A week, maybe two weeks, and then we rehearsed the songs we were going to put on record for about a month. I'm a big fan of pre-production. One take in the studio? Doe: A few takes and if something isn't working move on to something else and come back to it so it remains fresh. You can over rehearse a record. It's exciting to make those discoveries when it's for real. I think some studio musicians would probably be best if they just played a song once and then recorded it on the second lime. Some of those studio musicians are so good that they become bored the third time through a song. They're just playing a part by rote. But not these guys. [laughs] They have to work a bit harder. They're fast but they're not that fast. Doe: I was lucky enough to be involved with a session that never got released with John Hiatt. I was called in at the last minute to replace Nick Lowe playing bass. It was David Lindley and Dave Mattacks from Fairport Convention and myself and John Hiatt. We went through a bunch of songs and one of them was "The Real One." I knew it was a great song the first time I heard it. And the rest is obvious. Another situation where the phone jusl rang one day? Doe: The producer runs a club in Los Angeles called McCaves. It's an acoustic venue and and I've played there four or five times. He was familiar with X and called me up and asked me if I wanted to play on one or two songs. And then they realized lhat they were up the creek so they said, "Do you want to play on the whole deal?" What's il like playing in Los Angeles these days? Doe: Well, I don't live in Los Angeles anymore. I moved out closer to Bakersfield. I live out in the country now. Where I live is more California that Los Angeles or San Francisco. They're just big cities. It would be as if you were to judge all of Canada on Vancouver and Toronto and Montreal; took those three cities and said that's Canada. Whal is your Califor 2 like? Doe: It's a high desert. A lot of pine trees. Very hard country. Elemental in a sort of Hemingwayesque way. Man against the elements. It's not pastoral. It's more like a Robert Johnson song than a Renoir painting. You've been here a lol on the road. What do you know about Canada? Doe: I don't try to judge or pretend to understand places lhat I'm erything. We had the good fortune, ormisf ortune, to go lo Calgary for the first time during Stampede. As we pulled up to the hotel, one man chased anotherman outofabar. The first guy jumped in his truck and the other guy jumped on the hood and broke the front windshield with his heel, then jumped down off as the first guy was rolling up his window. He put his fist through the window and just dragged the olher guy out. He was angry-boy was he mad. It was quite an eye opener to pull into town and that's the first thing you see. We figured, shit, these guys are serious. Whal are you reading these days ? Doe: I just finished a Jim Harrison book called "Sun Dog." Harrison is a poet/novelist from-I think he lives in Montana now. If you don't know about him you should find oul 'cause he's really great. And I'm reading a biography about Phil Ochs who I've been a fan of and I've tried to read this book about three or four times but never gol more than fifty pages into it. But now I'm almost halfway through so I'll finish that. And I always keep a little Charles Bukowski around, just for the simplicity he's able to conjure up. Tell me about the Sandra Bernhard Doe: Actually I was the replacement for k.d.lang. Sandra and k.d.lang had done a duet of "I'm So Lonesome I Could Cry" and for one reason or another k.d.lang didn 't want to, or was too busy, to be in the movie. They called me up and I said, "Sure, I think Sandra Bernard is realfunny." They filmed the whole deal in about ten days The community you work from tends to be political in its outlook, which is good... Doe:It's good depending on how much people understand and how seriously they take themselves, I think. There is nothing worse than someone who is standing on a soapbox and spouting off stuff that they aren't really lhal familiar with. When that happens it lakes on a real hollow quality. The person is oul for themselves and not for the cause and ihc cause is thereby lessened. I think it's up to people to try to find oul as much information as they can, like any citizen should, and then do most of your work in your private life. Just saying to everyone, "I'm for this" doesn't do shit. It's like you're saying, "This is what I believe-now you go act on it, you peons, you regular citizens, 'cause I am a star." That's complete B.S. That's wrong. Your music, particularly "Meet John Doe," is very personal. A lot of it is aboul love and relationships. Meanwhile the people you hang out with seem to be more driven by the news, by fear and Doe: Well, reportage only goes so far. This is more the politics of personal mailers, rather than the personal mailers of politics. Tdon't think anything is going to be solved in a political vein until people learn how to get along. Understanding why you have difficulty wilh relationships or why it's hard to maintain a relationship is to me as important as feeding people. You' ve got to get along in order to work on something. Idon'tknow. It's just the way ihe songs were coming out. Maybe the next record will be different but I don't see eilher being better or worse than the other. Whether a record or song is political or not seems almost secondary. It doesn't mean that you should be afraid of political issues, or politics, or discussing them. That, in the States anyway, is the biggest malaise-people are afraid of politics. They're afraid of discussing politics wilh their friends or anybody. Why is that? Doe: Because people get all heated, get all excited and angry. And then they think that it endangers their friendship. Which is t belie what they are doing up by Montreal wilh the Mohawks. Ican'tbelieve that they aren't trying to talk to these people in termsof why they're doing what they're doing. The report that I read in the newspaper, which was from Seattle, dealt in a phrase wilh what the reasons behind this thing were and the rest of the column dealt with what they're going to do about it and how many guns they had and how long they've held this position. And then it just had, "A golf course wants to take over some of their ancestralground." Well, that seems to be pretty fucking important. SEPTEMBER 1990 13 Timbre Productions Presents SATURDAY, SEPTEMBER 01 THE ORPHEUM THEATRE DOORS: 7:30 P.M. / SHOW: 8:00 P.M. TICKETS AVAILABLE AT jg*€*"-^* MCA RECORDING ARTISTS _■ __f* UOtsrft jcM» MONDAY, SEP. 3 CICf8 SODA 1055 HOMER TICKETS AVAILABLE AT THE DOOR r.r. racer FRIDAY SEPT. 7 DOORS: 8 PM SHOWTIME 10:30 PM TICKETS AVAILABLE AT THE DOOR cmp presents Island Recording Artist Etta lames fifa and her 10 piece band with guests she*~f- FRIDAY, SEPT. 14 DOORS: 8:00 SHOW: 9:30 TICKETS AVAILABLE AT j^«» CHARGE BY PHONE 280-4444, TRACK, ZULU, BLACK SWAN, HIGHLIFE, SCRATCH, RAZZBERRY, AND REMINISCING RECORDS CiTR _LO_L.9 fTM PRESENTS NEW YORK THEATRE 639 COMMERCIAL DRIVE DOORS: 7 PM / SHOW: 7:30 PM DM ANGEL WITH GUESTS TICKETS AVAILABLE AT «"&--.,_. CHARGE BY PHONE 280-4444, TRACK, ZULU, BLACK SWAN, HIGHLIFE, SCRATCH, RAZZBERRY, AND REMINISCING RECORDS TUESDAY SEPTEMBER 25 DOOR: 8 PM SHOW: 9:30 PM KLUB KAOS 2745 BARNET HIGHWAY >^^ COQUITLAM -a premier pop-core bands of the post- punk era. All - Cruz recording artist and southern California wonderband, rambled through Vancouver 'C in July to play an all ages gig at the New York Theatre in support of their latest album, "Trailblazer." CiTR's Flex Your Head crew, Eric and Jinx, managed to catch original drummer Bill Stevenson, and '*' bassist Karl Alvarez (the guy who penned the Trailblazer album cover) before the band hit the stage. Guitarist Scott Reynolds and lung-man Stephan Egerton unfortunately ((. weren't around for the fun ' talkfest. Maybe they were feeling too popular. Bill Stevenson: When I was fifteen I started a band called i j^The Descendents. This is what we have twelve years later. We changed our name to All about three years ago. We've been through the full line up three times, all instruments, except we've only had one drummer: me. That's twelve years and here we are in 1990 doing an interview and it's great! (laughs) I was just thinking, just the reality of that like, "Why don't you quit?!" Discorder: Twelve years is a long time.... BS: It's like when we play every time, every show is like the first show ever. I guess when it's not like that anymore, that's when we'll quit. People think ifyou play all the time you reach a point where you're good, but it just doesn't happen. You never get good! You have to be together so long. Even in eighty years I'd still be like, "We're no good." D: From when you first started twelve years ago, what are the things you miss? What's different? What's changed? What do you miss about those days? BS: That's a good question! I like that! Karl Alvarez: What's changed is: every band had its own deal. You'd go to a show and every band played a different music. I'm not talking about clothes, I'm not talking about fashion, every band sounded different. Now if you go to your average punk rock, rock 'n' roll show, the bands generally sound similar or identical in a lot of cases. There's now a given set of flavours of the punk rock or rock *n' roll thing that people adhere to religiously, whereas ten years ago there wasn't. BS: I can relate to that question on a personal level. When we started, it was me and these two guys, Frank and Tony, who went to my high school. We'd go down on the weekends and practice in Long Beach in Frank's brother's garage. We all had a common thing of being socially unaccepted, sort of like nerds. I think the band was this way of hav ing our litde club like " Little Rascals." We had our little gang, so ever if no one liked us, at least we knew we liked each other. D: You get the prestige of being in a band... BS: But we couldn't get any shows. We started getting shows six years after, after we quit playing and I went with Black Flat for three years. When I came back then we were able to get some shows. No one ever liked us; hardly anyone still does. We play in these little bars! There's no prestige!! Now instead of it being the only alternative like "I have to have a band because I'm a failure in life." Now I think it's gotten sort of an artistic seriousness that is good and bad. There's heavy art at stake, feelings and expressiveness, whereas before it was, "Well I'm in high school and no one will talk to me. I have to be in a band." That's how it's different for me. I just do it for fun, I don't have to do it for anything. We enjoy playing. D: Nowyou'reBill Stevenson the Great! BS: Uhuh!!! I just play for fun and if no one likes me I don't really care! When you're in high school you've got to be a cool guy; you've got to be popular. Once you get rid of high school and college you don't have to be cool at all. You don't care if the whole world hates you. DA: As long as you've got your family and your two friends you're set. Stephan and I were high school rejects when we were kids .I've known him since we were twelve. We went through junior high and high school being the outside people. It really gives you a chip on your shoulder. BS: They [Karl and Stephan] had this whole other culture that got put into this culture (the ALL culture!). All of the guys that I'm talking about in high school-they're not in the band anymore. They haven't been in the band since 1983. Karl and Stephan joined at the same time. They grew up together. Milo went to our high school. He joined the group later after we started. He quit a few years back. He and I went back a real long time too. He's still probably by dearest friend. D: Is Milo going to do any other bands? BS: He just does his science. He's really not interested in music. KA: Once in a blue moon he'll write a song and sit in his closet and play it. Or he'll come to one of our shows and play it to us in our van on our van beater. Then he'11 go back to know, that's why Doug and Ray are out of the picture. BS: Doug and Ray were the bass and guitar players before Karl and Stephan. They left because they didn't want to do the touring thing. D: You guys are on the road pretty much all the time. How do you stay healthy? KA: By eating: trying to eat real food instead of road food. And sweating our balls off every night. BS: Sometimes it gets the better of me. Some tours I go out and by the end of the tour I've put on ten to twenty pounds. Sometimes it can be really difficult. It's something I have a problem with. On tour you're dealing with a lot of ridiculous time schedules. The other day we drove through the Rockies from Calgary to Victoria. Two consecutive nights of playing shows. You can't go and cook yourself a big vegetarian dinner. It's like BS: He has a pretty cool song that we recorded on our new album that's about his dad. I don't think you could ever lose a love for music, but he's more interested in science and I can understand that. I think science is the bottom line, period. KA: To ruin Bill's metaphor, it's one of the highest things you can do because you're using your brain to get to the natureof how things are rather than how they seem. BS: Or how they should be. "Cancer cells will behave in this manner." No matter how much you care about something, "This is how cancer works and this is how leukemia works." This is the facts. KA: There's something really cool about that. Also, we tour eight months of the year, it's very hard on people. If you have any interests that aren'tplaying music, it'sreally hard. That's why we've gone through so many people. Dave Smalley, who was singing for us for awhile, quit. As far as I Denny's or something. Sometimes I have a real problem keeping my shit together on tour. Nutrition-wise I really don't do it too well. KA: At this point, we're so used to it. Tours are like working with clay. Ifyou put it in the kiln it either breaks the piece you have or it makes it really tough. There are those who are broken and there are those who can continue doing BS: We tour eight months of the year, record two months of the year, and sleep two months of the year. We really don't ever stop. The not so incredibly in depth (or perfect!) All discography - all on Cruz. Allroy Sez... LP/CS/CS "Just Perfect"/"Wlshlng Well" 12" Allroy for Prez... 127CS/CD Allroy's Revenge LP/CS/CD "She's my Ex" 12" Trailblazer LP/CS/CD §__ SEPTEMBER 1990 IS The recent Vancouver Folk Festival presented a noticeable contingent of artists and musicians of Asian descent from Canada, the United States, and Britain who as members of western culture have begun to look at their identity and heritage in the light of both growing global cultural awareness as well as the rising exposure of the west to societies in China, South-East Asia, and the Pacific Rim. These artists included Brenda Wong Aoki, a storyteller from California, and Su-Chong Lim, a singer from Alberta who not only sings about the lives of South-East Asians overseas and as immigrants, but also performs prairie country ballads and Ukrainian folk songs (in Ukrainian). Also present were Phurbu Tsering and Thubtcn Samdup, two Tibetanese musicians working in Montreal, Xiao Yu, a "pipa" player from Vancouver, and locally acclaimed musicians Takeo Yamashiro and Teresa Ohnishi. On the more eccentric side, the playful antics ofthe Japanese female electro- pop duo from Britain, Frank Chickens, were a refreshing break from normality. However, it was the energetic musical and theatrical presence of Vancouver's young, professional Japanese drumming group, Uzume Taiko, which received the best audience response. The ensemble of unfamiliar drums and percussion instruments combined with the three core members' stunning choreography and physical playing style easily transfixed the crowd, especially those who had never witnessed this kind of music before. Even more surprising to many was the perfectly "normal" North American accents and mannerisms of the performers when they addressed the audience outside of their cultural presentations. Discorder was able to talk with Leslie Komori, one of the three full-time members of Uzume Taiko, about the group's music and the recent efforts of Asian-Canadians and Asian-Americans to explore and forge contemporary identities based upon their cultural heritage as well as the western culture they are a part of. Discorder: Could you tell us about Uzume Taiko's members and when the group was formed? Komori: Uzume Taiko was formed in 1988 by John Greenaway, Eileen Kage and myself. The group varies in size with other guest artists but the three of us are the only ones performing as full-time professionals. D:Tell us about Japanese drumming and the kind of traditional music you work with. K:Taiko means "big drum" and is a part of Japanese folk artistry which comes from the farming and fishing communities of Japan. The drums were used in battle to encourage troops to go to war and so on. In the past thirty years it has become more of an ensemble instrument played on stage....music as opposed to ritual. In North America, it has been here for about thirty years, originally brought over by Tanaka, who set up taiko workshops, including Katari Taiko, where we all learned to play. D: Are the other instruments and drums you use traditional? K: Generally they are. Some we make ourselves while others are made in California and Japan. D:But you've always used these traditional Japanese instruments and musical styles to explore your own compositions. K: Yeah. Most of our pieces are our own compositions. We actually do very few traditional pieces. On our album, only "Spring on Heavenly Mountain" is a traditional taiko piece. D:Tell us about your new album, "Chirashi." How did it come about? K:About a year ago we were approached by Gary Cristall [Folk Festival director] to do a concert at the V.E.C.C. with Takeo Yamashiro and Xiao Yu. He liked what he heard and offered to produce an album, which is just what we wanted. D:The album features not only traditional instruments but non-traditional ones as well, such as a bass and a saxophone. Why did you use these? K: All three of us are Japanese-Canadians and our musical tastes are rooted in Canadian and American styles. We incorporate what we hear around us. Eileen wanted to use a bass and I wanted to incorporate a saxophone because they are instruments we hear around us all the time. D:Many people are fascinated by your stage presence and your choreography. How do you plan the movements and how long does it take to learn each piece more or less? summer we'll go on a tour of Europe. D:Are other taiko groups forming in North America? Is there a growing awareness of these types of traditional musical forms in the youth of communities of Asian heritage? K:Oh yeah! There are groups starting up all over Canada, such as in Ottawa and Edmonton, as well as in the States. The communities are embracing the music. D:Is this growth reflected in Japan? K:I really don't know. I have a sense that it might not be. In Japan it is different. Over there you have schools of [ traditional] art and music which sort of suppress any creativity. They keep the music so traditional that it makes it unappealing after a point- to always play just what someone else has taught you. In North America it is great that you have more freedom and are not controlled so much by the schools. There is a group in Japan called Koto who are probably the premier taiko group in the world, but otherwise there are just village taiko groups or schools. I don't know if there are taiko groups like us over there. D:Thank you for talking to us and good luck in the future. K:Thank you. Discorder would like to thank the Vancouver Folk Festival people for the interview opportunities they provided us. In all, wonderful performances by artists such as Zimbabwe's Machanic Manyeruke, Bulgaria's Ivo Papasov and his Bulgarian Wedding Band, Uganda's Samite, bagpipe toting Kathryn Tickell, and Morocco's sintir player Hassan Hakmoun proved that global culture has not totally consumed ethnic 2 o CO (0 © E co -_■ ■o c CO 5i !_! 0) CO IS N 0) 3 Q. K:A lot of our choreography is improvised. Basically you have a base rhythm and sound which you build upon and develop the music around. It's a collaborative effort. D:What have you planned for the future? K:We don't have anymore recordings planned yet, but hopefully next music throughout the world. And as evidenced by local groups such as the Andean music ensemble. Ancient Cultures, and the Asian-Canadian groups discussed above, people in Vancouver and all across Canada are looking to their heritage as a means of giving themselves asenseof identity with a view to the future. 16 DISCORDER renda Wong Aoki is an avant Bl garde solo performer, actress and story teller from Cali- I fornia. She performed at this year's Folk Festival, enthralling audiences with performance pieces that tell stories drawn from her own life and the Asian-American community as a whole. The Browns (Peter and James) took time out from the nonstop musical smorgasbord to talk to Brenda Wong about her art and found that the tradition of story telling is alive and well. Discorder: How did you get interested in telling stories? BWA: Well, I was the eldest of six kids. I had to put them to bed every night so one way you could do that was to tell them stories. Also, I was a pretty dorky kid and I was really fat and I had asthma so I couldn't play. As a kid it was really important to play games and things, so nobody liked me. So, I liked to read books all the time, and what I liked to read best was story books. I have always been fascinated by stories. Also, I am a professional actress and I have all the union cards in the United States, but there isn' t always that much work for a minority actress, and when I was in and out of roles I would always continue to do solo performances to keep what we call "chops" up. Eventually, I am getting more and more calls just to do solo performances, and that is kind of how it happened. It actually happened more easily than one would think. I went through so much "angst" as an actress, but becoming a story teller was so easy, I think, because it finally fell into place for me. D: It's funny, as a child you say you feltabitofanoutcast. Wheredidyou gain your confidence for getting up in front of an audience and telling stories of your life? BWA: It's a front (laughs). I think so for real. I really don't have that confidence. I think a lot of performers are actually really insecure people. It's like this big challenge to get up on stage...to be able to do that. I still have incredible stage fright. I am always thinking, "Oh, why?...they don't really want me...do they want me?" and all that stuff. You still go through it a lot, I still don't have complete confidence about going in front of people. D: Are adult audiences as receptive to story tellers as the children? BWA: No, I think that's more of a presenter's problem. The presenter is the person who is marketing the artist. If people know they're coming to hear adult stories then they have that expectation already; they know what they are getting into. I come from a background in the "avant garde" theatre. As a soloist I was not billed as a story teller as such; I was billed as a solo performance artist. So, at least in the San Francisco area, if people would come to see me they would already think, "Well, Brenda is a performance artist." It is just recently, in the past couple of years, that people have called me a story teller. I have been doing the same solo monologue- movement stuff for fifteen years, but now in the last two, three years people label me as a story teller. D: Your characters are always overcoming problems, problems even as great as death. And it seems to have that poignancy. It seems as if a relief of your perfor BWA: Well, my background was mostly in dance and Japanese classical theatre, Noh and Kyogen. In that training, my coach would always say to me, "When in doubt don't move." I think that is really key, because I think what I try really hard to do is very specific. If there is a purpose for moving then move; if there is no purpose then stand still. One of my other philosophies is that if you can ; the words. or a happiness exists there too. Is this a conscious thing? BWA: I try to do that. I have to give a lot of credit to, this is the time you say "Hi Mom" and everything (laughs), my director. I have a director, who works on most of my adult stuff. His name is J.L. Wiseman. He's fairly well known in the States for working with the Delarte Theatre Company and Vaudeville Nouveau; they are performance groups. He's also my co-writer. I think every story that I take, whether I make it up myself or whether it is an existing story, I have to rewrite it for my own personal style from my own interpretation. I think that is what is most important; to figure out the angle of your interpretation, how you are going to interpret it. I don't know ifyou saw me do the MsStory (workshop). Well, that particular story is an ancient Japanese legend. The way the legend goes, at least currently, is this poor suffering monk who is wanting to attain nirvana and this "dirty woman" who is always in his face. It's never from the perspective of her conditioning or whatever. I wanted to reinterpret it from a different angle. That is what is the most fun. The most important thing is to give it your own perspective. D: When you tell stories you do not only rely on your voice but also on very carefully choreographed movements and a few carefully selected props. Is that always an integral part or if you can say it with a look, or even say it with silence. Words are almost the weakest part of a performance, so if I can get away without words I try to do that. D: Any parting thoughts? BWA: I just want to say that I'm really happy to be in Canada, because first of all it's such a different experience from the first time I came to Vancouver. I was in Vancouver right after the Vietnam war was over and I was one of the anti-war protesters who had been invited to Vancouver by members of the Vict Cong to celebrate the ending of the war. Many people in Vancouver were not exactly pleased that all these radicals from the United States were meeting with the Viet Cong. Our bus was getting stoned and people were throwing things into the church we were staying in. It was pretty scary. This has been so much nicer, but that was one thing I remember. The second thing I wanted to say is that I'm really exited about all the different Japanese-Canadian artists that I have met, like Uzume Taiko. I read this book by this wonderful story teller named Paul Yee. I would really like to meet him, so I thought I would like to put that into the "Hi Mom" series, too. And my good friend Rick Shiomi is from here. He is a wonderful playwright. I thought I'd say something to my fellow Japanese-Canadians. I really appreciate being in your country and I thank you for having me here. D: Great, thanks very much. BWA: Yes, thank you. U (D 2 a. o ■u < c O) (0 c o -a £ o CD CO c a C/_ i c o N CiTR 101.9 fM ■____________________. ____■ ______ _■_. 3MKdfe atthe What: CiTR's local band competition. When: Every Monday night September 10th to December 10th (except October 8th). Finals December 17th. Where: The Railway Club, 579 Dunsmuir Street. Finals at the Town Pump, 66 Water Street. Sponsored by: PeiTyscope Concert Productions Ltd. ^jDEADBEATj? KT-WOBf Sivrrx Studios And don't you forget it. JOpUlUIQJ OAES-plie-dip 9QJJ Apueii o C/3 < o o 3 a CD ^SnCIAIPSTTURT/F • PEACE! OH OOWY BE BITTER- -JUST BECAUSE THE SWLlTAkY-INDUSTRIAL C£AJH*ACWIWE THAT PROPS UP YOUR ECONOMY IS NOW AS DEAD AS A DODO! • , so mow YOU CAW SPEWD VtxvA LrAONEV OW SCHOOLS, SHELTERING [THE HOMELESS FEEDING 7WE V HUAJGftY /<**> Mtpe EVSW CUPING THE SICK' VANCOUVER'S HOTTEST BLUES NIGHTCLUB Sep. 1 The Demons Sep. 3 Special Afternoon Jam Session - Jack Lavin & The Demons with Oliver & The Elements Sep. 4-8 Pinetop Perkins Sep. 11-15 William Clarke Sep. 18-22 Sherman Robertson Sep. 25-29 Ron Thompson Sep. 3, 10, 17, 24 - Oliver & The Elements DON'T MISS JACK LA VIN'S JAMS: SAT. 3-8 PM / SUNDAY BLUES MARATHON JAM SUN. 3 PM-MIDNITE OPEN EACH NIGHT FROM 9:30 pm -1:30 am OPEN WEEKDAYS FROM 11:30 a VANCOUVER INTERNATIONAL FILM FESTIVAL Sept. 28 - Oct. 14 CULTIVATED MOVIES! HUSH A BYE BABY-Music and cameo by Sinead O'Connor THE KRAYS - Infamous London gangsters HARDWARE - Features Iggy Pop and music by Thrash Metallst Simon Boswell THE DEAD FISH - Midnight Show, eerie synth soundtrack by Michel Portal A YOUNG MAN'S DREAM; A WOMAN'S SECRET - soundtrack by David Byrne 7 38-4567 DANCIN" THRU THE DARK - Liverpool youth, soul music PROFESSIONAL QUALITY DEMOS FULLY EQUIPPED 8 TRACK $12/hr INCLUDES ENGINEER DEADBEAT STUDIOS (604) 687-5803 SEPTEMBER CONCERTS SATURDAY 1 JR Country presents Stony Plain recording artist TOM RUSSELL with guest ERIK JOHNSON SUNDAY 2 CiTR presents from the UK, IRS recording artists PATO BANTON AND THE REGGAE REVOLUTION with guest PETER SPENCE MONDAY 3 CAT'S GAME, CHIEFS OF BELIEF, DOSE PUMP, CURIOUS GEORGE TUESDAY 4 MIND THE GAP, THE ALIEN AND THE PSYCHO, BARON VON FOKKER, JUICE MONKEYS WEDNESDAY 5 Double Bill • THE PERSUADERS and DEAD HEAD COOL THURSDAY 6 ONE WORLD with guests GEMINI RISING FRIDAY 7 TT RACER with guests PUBLIC HOUSE SATURDAY 8 CiTR presents GAYE BYKERS ON ACID with guests ELVIS HITLER SUNDAY 9 MONDAY 10 THE ODDS with guests RAGGED RICH TUESDAY 11 WEDNESDAY 12 ROCK 1040 presents MCA recording artists MANTEYE with guests GREENHOUSE ETHNOCENTRIC BUBBLEHEADS with guests OH YEAH THURSDAY 13 EMILY STOP FRIDAY 14 - SATURDAY 15 ROCK 1040 presents THE SCRAMBLERS with guests CHANGE OF HEART SUNDAY 16 MORIS TEPPER formerly of Tom Waits and Captain Beefheart MONDAY 17 BIG DEAL, MORTAL PUZZLE, DIRT TUESDAY 18 From Winnipeg, THE WATCHMEN with Bests Y-KNOT V> DNESDAY19 From Toronto, KING APPARATUS (Ska)* Th RSDAY20 A Timeless Production, from Seattle, MY SISTER'S MACHINE and PAISLEY SIN * FRIDAY 21 From Seattle, YOUNG FRESH FELLOW»h guests FIELD TRIP SATURDAY 22 Perryscope and CFOX present A&M recAng artist DAVID BAERWALD MONDAY 24 AGENT ORANGE TUESDAY 25 ROCK 1040 presents from the UK, WE/Bcording artists WEDNESDAY 26 SHAME featuring Norm Rodgers of TV JKnd The Waterboys with special guests CATHERK WHEEL Perryscope and CiTR present from the l^BPolyGram recording artists THEE HYPNOTICS Wk THURSDAY 27 From Boston, Relativity recording artist JR> HARVEY with guests ONE RIDDIM FRIDAY 28 - SATURDAY 29 ROCK 1040 presents Enigma/Capitol recording artists THE FORGOTTEN REBELS with guests TANKHOG THE TOWIVT Pf/IUfP I V/rr ii Mr U m Mr 66 Water Street Gastown 683-6695 UBC STUDENT UNION BUILDING LOWER CONCOURSE ALL AGES WELCOME Free Hair Care Offer from Matrix! The Matrix design team is looking for models for cuts, colours and perms. For Info, please call Bobble at299-8441. WANTED Witnesses to one of several alleged assaults on patrons at RAMONES concert June 28, 1989. Call 669-8808 be- tween 9:00 a.m. and 5:00 p.m. "If I hated the mushroom pizza, I would have SAID *1 hate the mushroom pizza. I '11 be fucked if I'm going to have another piece of the mushroom pizza.'" Wise words from a wise woman. Myself, I didn't even really taste pizza till I was, like, twelve, and then it was Auntie Merle's homemade, baked up in a big rectangular pan and served in oblong slabs. Prior to that, the nearest exposure I'd and to the stuff was that fateful night of my best friend's...what was it?...7th? birthday party. The event had been hyped out of proportion way in advance: We were going to Shakey's!, we were going to Shakey's!, we were going to Shakey's!, and we were going to have PIZZA (which was at the time scaling a zenith of coolness and popularity). And not just pizza, but pizza with SPARKLERS on top. Exciting shit. This was a big enough deal for my peers, but for me, raised in a staunchly "Pepper?! I didn't even know you could BUY that here!" household, the prospect was downright mind-warping. So there I sat in the yellow Bug, crammed in amongst my shrieking compatriots, nursing the knot of anxiety that was a dead weight in my stomach. Of course on the outside I made a show of being cool, urbane, sophisticated (some things never change), INTO the whole pizza scene - Hell, if you weren't into the pizza scene in the '70s, there was no hope for you...So that when we arrived at the promised land, everyone was a bit taken aback at my refusing pizza. By this time the whole vicious cycle - "Oh my god, I 'm going to have to eat PIZZA, what if I don't like it, what if it's weird, (what if it tastes like pepper), WHAT IF EVERYONE HATES ME BECAUSE OF IT?!?" - had such a grip on my digestive system I couldn't have eaten anything, itchen B£ANZ TOOAV much less pizza. One of my earliest and most vivid memories of ineptly trying to grin and equivocate my way through an unbearable social situation. But okay okay, truth enough, this isn't Let's Delve into Viola's Childhood, it's Hell's darned Kitchen, andl'm gonna tell you what pizza in town's worth eating and what The best pizza for my money hails from the Greek Taverna in Surrey, hidden away at the end of a desolate early-'80s mall just south of the Newton Inn. But in Vancouver, Sunrise Pizza & Steak House on Commercial Drive serves up a pretty darn mean rendition thereof too. Their vegetarian with feta cheese, a transcendent eat, is so lewdly liquid-y that a fellow connoisseur was prompted to observe, "It's like, someone forgot to drain the tomatoes..." The kooky take-out/delivery folder offers only a hint of what awaits inside the actual restaurant. Eat in sometime; it's a trip replete with all the '70s accoutrements from your most warped nightmares. Highly recommended. The Delphi, down the street and around the corner on Hastings by the Canadian Tire, gives Sunrise a run for its money, pizza-wise, and has a really cool, neighbourhood hangout/publike atmosphere. There's one of them crazy bead curtains, nothing more, dividing the eating area from the kitchen; the delivery guy runs back and forth from kitchen to door like a mad hen; and the proprietor and a couple regulars sit at the table in the middle, drinking red wine and loquaciously lording it over their smoky domain. The Caesar salad is sort of abnormal, but stock up on the pizza and you can't go wrong. Reasonable prices too, eh. Johnny's Pizza Factory, with two Granville St. locations, one in the seedy end of the Mall and the other in Marpole, now has a new outlet on the East Side at the confluence of Broadway and Grandview Hwy. While this one looks relentlessly spartan inside, with nothing of the manic she-come-she-go-she of the little hole-in-the-wall Mall one, the gods have nevertheless smiled upon my neighbourhood, as the Johnny's pizza recipe is nothing to sniff at. Especially for a 2-for-l dealie, definitely eatworthy stuff. And with a delivery menu that boasts wording like, "You can order submarines with same kind of toppings like pizza,"; well, I say heck, you can't lose. Speaking of 2-for-l pizza, and losing, that segues well into mention of the big 2- for-1 places. Panagopoulos, although edible, actually costs more than Johnny's, and the quality, quote-unquote, is inconsistent from location to location and even from week to week within the same location. As to the other No. 1 corporate deathpizza, the Richlerian 222; well, suffice it to say that I've never tasted it - one look at the scarifying photos on their flyer cured me of any desire to do so. Any reports from the field, of people who have actually eaten it and lived, would be welcome. As a more or less full- fledged Drive-ite (whatever that is), it shames me to admit that I've never set foot in, or sunk tooth into, either of the street's pizza-by-the-slice institutions, Golden Boy's or Don Giovanni. Every time I walk by these side-by-side south of 1st competitors, I'm tempted; but cheapness is my downfall and I always tell myself, "C'mon, don't make an impulse purchase; you're only a few minutes from home and you can make yourself something to eat when you get there." Anyway, Golden Boy's (great name, great logo) offers the customary piece-of-pie- shaped wedges, and Don Giovanninextdoor serves 'em up in big oblong chunks, like Auntie Merle. Both places have a few tables crammed into a3- by-3 yard space, and are usually occupied by at least a couple of dreadlocked- or blue- or no-haired denizens of the Drive, merrily chowing down. Damn! Why haven'11 checked out these places yet? I must be sick in the head. Buthey, it'snotasif I don't already knowof enough places where my pizza buck is well-spent. Sunrise, the Delphi, and the Greek Taverna when I'm in Surrey should keep my sufficiency suffuncified, I reckon. Yours too, eh. 9^— COOK'S SPECIAL FETA CHEESE, TOMATOES, ONIONS MUSHROOMS, LEAN BEEF, CHEESE AND TOMATO SAUCE Sm. 10.95 Med. 13.45 Lg. 15.45 JOHNNY'S SPECIAL PEPPERONI, BACON, MUSHROOMS, GREEN PEPPERS, OLIVES, ONIONS, CHEESE AND TOMATO SAUCE Sm. 10.50 Med. 13.95 Lg. 16.45 VEGETARIAN FRESH TOMATOES, MUSHROOMS, OLIVES GREEN PEPPERS, ONIONS, PINEAPPLE CHEESE AND TOMATO SAUCE Sm. 10.15 Med. 13.45 Lg. 15.95 SEPTEMBER 1990 21 * 'WE rvrSTEKYAf<0 Powep. was rAiNEALorve/x woolo 8E HIS CREATOR and DISCIPLE--) mJne LIMBS ANDFE^TURCS OF THE SAVIOUR sToWLf Bt6AN TO TAKE SHAPE.. I_ AAAOE. SORE TOSCH«-FT THtrAObT BEAUTIFUL FACE oP HIM- FOR AFTF.K ALL , HE - WAS THE SON OF GOP' K SATURDAY 1 HardrockMinersattheRailway.. The Stealers at the Cruel Elephant..The Tom Russell Band and guest Erik Johnson at the Town Pump.The Demons atthe Yale. Albert King and Irma Thomas at the PNE Exhibition Bowl (8:30pm)... Sue Medley at86 Street .Al Foreman at Hogan's Alley.. RyCooder and David Llndley at the Orpheum... Spread Eagle at the Rock Cellar... Breathing Together (7:30pm) and Head (9:15pm) at PacificCinematheque... Lonely Heart* (7:30pm) and Warm Nights (9:30pm) at the Starlight Cinema.. SUNDAY 2 CiTR presents IRS recording artist Pato Banton and Um Reggae Revolution at the Town Puma...Special afternoon jam session with Oliver and the Elements and Jack Lavin and the Demons at the Yale... Nardwuar the Human Serviette Presents Don Wuan'z Fried Carrots with Medusa's Raft, Stagnant Water, The Evaporators and The Worst at the Arts Club Seymour (all ages)... Koko Taylor at the Commodore... Sue Medley at 86 Street... Ai Foreman at Hogan's Alley... Count ol the Old Town (7:30pm) and B (9pm) at Pacific Cinematheque... Young Einstein (7:30pm) and Crocodile Dundee at the Starlight Cinema.. MON DAY 3 Cat's Gam, Chiefs ol Ballet, Dose Pump. Curious George at the Town Pump... Barney Bentalland Lava Hay at the PNE Exhibition Bowl (8:30pm)... Squirrels Live Unit at Bumbershoot (Seattle)... The Five Blind Boys ol Alabama at the Vancouver East Cultural Centre (8:30pm)... Oliver and the Ele- ments at the Yale... Al Foreman at Hogan's Alley... Dogzilla at Klub Kaos...Classics Night In the Pit Pub, music provided by CiTR... Count ol the Old Town (7:30pm) and B (9pm) at Pacific Cinematheque... Grlevious Bodily Harm (7:30pm) and Road Warrior at the Starlight Cinema.. TUESDAY 4 Mind the Gap. Alien and the Psycho, Baron Von Fokker, Juice Monkeys at the Town Pump... Pinetop Perkins at the Yale... The Coca-Cola Kid (7:30pm) and Burke and Wills (9:30pm) at the Starlight Cinema... World Beat Night at the Pit Pub, music provided by CiTR... WEDNESDAYS The Pursuaders and Dead Head Cool at the Town Pump... Pinetop Perkins at the Yale... Bruce Caughlan at Hogan's Alley... Hot Wednesdays In the Pit Pub, music provided by CITR... Films of Iceland with Land and Sons (7:30pm) and The House (9:20pm) at Pacific Cinematheque... A Cry in the Dark (7:30pm) and Kangaroo (9:45pm) at the Starlight THURSDAY 6 One Wortdwith Gemini Rising at the Town Pump...PinetopPerkinsatthe Yale... LamontHillatHogan's Alley... Cool Thursdays In the Pit Pub, music provided by CiTR... Pop Tart Cabaret at the Fringe Club (9pm)... Rims of Iceland with Land and Sons (7:30pm) and The House (9:20pm) at Pacific Cinematheque... Kangaroo (7:30pm) and A Cry in the Dark (9:30pm) at the Starlight Cinema.. The Sixth Annual Fringe Festival opens In the Mount Pleasant community, check the Fringe Program for details).... FRIDAY 7 CITR presents night one of OJ SOUND WAR CHAPTER ONE, Vancouver's first rap competition, at the SUB Ballroom (7pm, $5)... T.T. Racer and Public Housat the Town Pump... Jazzmanian Devils and Wall Street at 86 Street.. Pinetop Perkinsatthe Yale... La mont Hitlat Hogan's Alley... Chris Creighton Kelly at the Fringe Club (9pm)... Stereo (7:30pm) and Stalker (8:50pm) at Pacific Cinematheque... Celia opens at the Starlight Cinema (7:30 & 9:30)... Fringe Festival continues in Mount Pleasant; check the Fringe Program for details.... SATURDAY 8 CITR presents nighl two of DJ SOUND WAR CHAPTER ONE, Vancouver's first rap competition, at the SUB Ballroom (7pm, $5) with guests EQ... CiTR presents Gaye Bikers on Acid with guests Elvis Hitler at the Town Pump... Jazzmanian Devils and Wall Street at 86StreeL. Pinetop Perkins at the Yale... Lamont Hill at Hogan's Alley... Fan tazaa at the Fringe Club Bandstand... Olrv at the Fringe Club (10:30pm)... Stereo (7:30pm) and Stalker (8:50pm) at Pacific Cinematheque... Celia continues at the Starlight Cinema (7:30 & 9:30)... Fringe Festival continues in Mount Pleasant; check the Fringe Program for details... SUNDAY 9 Graftitti with Lovers and Madmen at the Town Pump... Sheri-D Wilson at the Fringe Club (pm)... Swedenhielms (7:30pm) and Walpurgis Night (9:15pm) at Pacific Cinematheque... Celia continues at the Starlight Cinema (7:30 & 9:30)... Fringe Festival continues in Mount Pleasant; check the Fringe Program for details.... MONDAY 10 That Band Competition from CiTR Shindig '90 opens at the Railway Club with Bent, Elbore James and the Vasectomoids... The Oddsand Ragged Rich atthe Town Pump... Oliver and the Elements at the Yale... Margo Kane at the Fringe Club (9pm)... Classics Night in the Pit Pub, music provided by CiTR... Swedenhielms (7:30pm)and Walpurgis Night(9:15pm) at Pacific Cinematheque. ..Celia continues at the StartightCinema (7:30 & 9:30)... Fringe Festival continues in Mo _it Pleasant check the Fringe Program for details.... TUESDAY 11 Manteye with Green House at the Town Pump... Garnet Rogers at the Vancouver East Cultural Centre (8pm)... William Clarke at the Yale... ScottTata at the Fringe Club (9pm)... World Beat Night at the Pit Pub, music provided by CiTR...Personality Software and Baby Pinsky at Pacific Cinematheque (8pm)... Celia continues at the Starlight Cinema (7:30 & 9:30)... Fringe Festival continues in Mount Pleasant; check the Fringe Program for details.... WEDNESDAY 12 CiTR presents Consolidated and MC 900 FT Jesus with DJ Zero at the Luv-a-Fair... The Ethnocentric Bubbleheads and Oh Yeah at the Town Pump... William Clarke at the Yale... Emily Faryna at the Fringe Club (9pm)... The Fault at the Fringe Club Bandstand... Hot Wednesdays In the Pit Pub, music provided by CiTR... Films of Iceland with Outlaw: the Saga of Gisli (7:30pm) and Atomic Station (9:30pm) at Pacific Cinematheque... Celia continues atthe Starlight Cinema (7:30 & 9:30)... Fringe Festival continues in Mount Pleasant; check the Fringe Program for details.... THURSDAY 13 Emily Stop at the Town Pump... William Clarke at the Yale... Sandra Lockwood at the Fringe Club (9pm)... Cool Thursdays In the Pit Pub, music provided by CITR... Films of Iceland with Oudaw:theSagaofGisli(7:30pm)and Atomic Station (9:30pm) at Pacific Cinematheque... Celia continues at the Starlight Cinema (7:30 & 9:30)... Fringe Festival continues in Mount Pleasant check the Fringe Program for details... FRIDAY 14 Tha Scramblers and Change of Heart at the Town Pump... Etta James at 86 Street... Wi I liam Clarke at the Yale... Ancient Cultures at the Vancouver East Cultural Centre... Elizabeth Fischer at the Fringe Club (10:30)... Sympathy lor the Devil (7:30pm) and Performance (9:20pm) at Pacific Cinematheque... Fringe Festival continues In Mount Pleasant; check the Fringe Program for details.... SATURDAY 15 CiTR presents Death Angel, Forbidden and Sanctuary atthe New York Theatre... The Scramblers and Change of Heart at the Town Pump... William Clarke at the Yale... Etta James at 86 Street... Tommy Flanagan Trio at the Vancouver East Cultural Centre... Spin Doctors at the Fringe Club Bandstand... Lowell Morris at the Fringe Club (9pm)... Sympathy for the Devil (7:30pm) and Performance (9:20pm) at Pacific Cinematheque... Fringe Festival continues in Mount Pleasant; check the Fringe Program for details... SUNDAY 16 Moris Tepper at the Town Pump... Tannahl II Weavers at the WISE Hall (8:30pm)... Andrew Wilson at the Fringe Club (9pm)... A Woman's Face (7:30pm) and Dollar (9:30pm) at Pacific Cinematheque... Fringe Festival closes In Mount Pleasant; check the Fringe Program for details... MONDAY 17 Shindig '90 continues at the Railway Club with Picture Paintings, Sun Dog Sun and Toxic Jimmy... Big Deaf, Mortal Puzzle, Dirtat the Town Pump... Oliver and the Elements at the Yale... Classics Night in the Pit Pub, music provided by CITR... A Woman's Face (7:30pm) and Dollar (9:30pm) at Pacific Cinematheque... Beyond the Fringe opens at the Vancouver East Cultural Centre... TUESDAY 18 The Watchmen and Y-Knot at the Town Pump... Sherman Robertson at the Yale... World Beat Nlghtat the Pit Pub, music provided by CiTR...Beyond the Fringe continues at the Vancouver East Cultural Centre... WEDNESDAY 19 ScrawlandBombshellsatthe Cruel Elephant... King Apparatus at the Town Pump... Sherman Robertson at the Yale... UBC Clubz Daze 1990 begins with CITR presents a free concert by Roosters and Waterwalk on SUB Plaza (12:30pm)... Hot Wednesdays In the Pit Pub, music provided by CiTR... Films of Iceland with Magnus (7:30pm) and White Whales (9:15pm) at Pacific Cinematheque... Beyond the Fringe continues at the Van couverEastCuItu ral Centre... A View from the Bridge by Arthur Miller opens at Frederic Wood Theatre... THURSDAY 20 My Sister's Machine and Paisley Sin at the Town Pump... Sherman Robertson at the Yale... UBC Clubz Daze 1990 continues with CiTR presents EJ Brule on SUB Plaza (12:30PM)... Cool Thursdays in the Pit Pub, music provided by CITR... Beyond the Fringe continues at the Vancouver East Cultural Centre... A View from Ihe Bridge continues at Frederic Wood Theatre... FRIDAY 21 Young Fresh Fellows and Field Trip at the Town Pump... Tower of Powerat 86 Street.. Sherman Robertson at the Yale... UBC Clubz Daze 1990 ends with CiTR presents Jody "Eh/is' Cranston on SUB Plaza (12:30pm)... Crimes of the Future (7:30pm) and The Mirror (8:50pm) at Pacific Cinematheque... Beyond the Fringe continues at the Vancouver East Cultural Centre... A View from the Bridge continues at Frederic Wood Theatre... SATURDAY 22 DavidBaerwaldattheTownPump... Sherman Robertsonat the Yale.JohnHiattat 86 Street. Crimes of the Future (7:30pm) and The Mirror (8:50pm) at Pacific Cinematheque... Beyond the Fringe continues at the Vancouver EastCultural Centre.. AViewfrom the Bridge continues atFrederic Wood Theatre... SUNDAY23 OnlyOneNight(7:30pm)andJuneNight (9:15pm) at Pacific Cinematheque... A View from the Bridge continues at Frederic Wood Theatre... MONDAY 24 Shindig -90 continues at the Railway Club with Baron Von Fokker, Darkling Thrushes and Phineas Gage... Agent Orangeat the Town Pump... Oliver and the Elements at the Yale... Classics Night in the Pit Pub, music provided by CITR... Only One Night (7:30pm) and June Night (9:15pm) at Pacific Cinematheque... A View from the Bridge continues at Frederic Wood Theatre... TUESDAY 25 Shame and Catherine Wheal at the Town Pump... Ron Thompson at the Yale... David "Fathead" Newman at the Glass Slipper... World Beat Night at the Pit Pub, music provided by CiTR... A View from the Bridge continues at Frederic Wood Theatre... WEDNESDAY 26 CiTR presantsTheeHypnotics at tha Town Pump... Ron Thompsonat the Yale... Hot Wednes- noizi r days in the Pit Pub. music provided by CITR... A View from the Bridge continues at Frederic Wood Theatre... THURSDAY 27 Bop Harvey at the Town Pump... Ron Thompson at the Yale... Cool Thursdays In the Pit Pub, music provided by CiTR... A View from the Bridge by Arthur Miller continues at Frederic Wood Theatre... FRIDAY 28 The Forgotten Rebels and Tankhog at the Town Pump... Ron Thompson at the Yale... Garbo's Hat and Lunar Adventures at the Glass Slipper (9pm)... Rainforest Benefit II with speakers Dr. David Suzuki, Dr. Wade Davis,. Miles Richardson, Thorn Henley and Adrlana Carr and music by Doug and the Slugs, Jim Byrnes, Long John Baldry, Ann Mortifee. Murray McLachlan and Celso Machado at the Hotel Vancouver... Vancouver International Film Festival opens until October 14... A View from the Bridge by Arthur Miller continues atFrederic Wood Theatre... SATURDAY 29 The Forgotten Rebels and Tankhog at the Town Pump... Ron Thompson at the Yale... Paul Plimley Group and Chiel Feature at the Glass Slipper (9pm)... Vancouver International Writers Festival Preview Event with Alice Munro at the Arts Club Granville Island... A View from the Bridge continues at Frederic Wood Theatre... SUNDAY 30 Betty Carter at the Commodore... SPACES SPACES SPACES Anza Club 3 West 8th Street Arcadian Hall main floor, 2214 Main Street Arts Club Granville Island Granville Island Arts Club Seymour 1181 Seymour Street Cambrian Hall 215 East 17th Avenue Cinderella Ballroom 185 East 11th Avenue Commodore Ballroom 870 Granville Street Community Arts Council 837 Davie Street Cruel Elephant 1176 Granville Street 86 Street Music Hall BC Enterprise Centre Firehall Arts Centre 260 East Cordova Street Frederic Wood Theatre 6454 Crescent Road, UBC Fringe Club 3rd floor, 2655 Main Street Grunt Gallery 209 East 6th Avenue Heritage Hall 3102 Main Street Hogan's Alley 730 Main Street Kitsilano Community Centre 2690 Larch Street La Quena Coffee House 1111 Commercial Drive Main Dance Place upstairs, 2214 Main Street Mt Pleasant Community Centre 3161 Ontario Street Pacific Cinematheque 1131 Howe Street Pit Pub basement, Student Union Building Railway Club 579 DunsmuirStreet Ridge Theatre 3131 Arbutus Street Starlight Cinema 935 Denman Street Station Street Arts Centre 930 Station Street Studio 58 Main Building, Langara Campus, VCC Student Union Building 6138 SUB Boulevard, UBC SUB Ballroom second floor, Student Union Building SUB Plaza south side, Student Union Building SUB Theatre main floor, Student Union Building Tom Lee Music Hall 929 Granville Street Town Pump 66 Water Street Underground Broadway & Kingsway Van. East Cultural Centre 1895 Venables Street Vancouver Little Theatre 3102 Main Street White Crane Studio 2440 Main Street WISE Hall 1882 Adanac Street Yale 1300 Granville Street =r-r-_hv-i^i im im And, Available NOW via some cool record stores. Phone (604)274*4828 ifyou can't find it and we'll hook you up with a copy. . ^$ • More merchandise is on the way so keep an eye out for it. [nri 006. Tip] SEPTEMBER 1990 35 WEA/DGC ._■_■__■ ■.•]; [fin ;_._•_•_•_•_, m *•* ■:•_• SonlcYo-th 4Vx Jello Bistre _ DOA. Last Scream ol aa Mttsatg at - Emtammeat Lights... Camart... Rmokttloa C8S/Epk Urban Daaci Sqaad at—tat float lor Oat Slob* BM(V Arista Sfrawbam-7.ota Cart, Flown. Ttmphoa** BMG/RCA Foetus Mc. Smk Car|(VWax Trai KMFDM MM WaiTrn Skin Yard Flat Shot Cheeks C«go/Cnu Lm "Scratch" Perry From th* Sacrat Labratorr MCA/bland XClm To th* Fast, Black waits MCA/4-1 _ B'way H«t**p Brie* br Brick A*M/Vkgla Stoaapla' Toa Coeeor* * Proad Canadian Capttol/EMI Lhrybr Llaethoa B*T Concrete/Pinpoint Shinehead Tea Heal Rock WEA/Afrkaa Love Sbaaalers 1$ CBS/tpIc Untamed Youth Wore Goaa Caxsars trom 0>e Untamed Youth Norton Change ol Heart Soapbox C»jo Lake Featuring The 2 Lhre Crew Banned la tha U.S.A. WEAAuke Various Artists Holland Hocks MM5 Sampler Pkouograau BV Holland Cabaret Voltaire Groovy, Laldback mt Hast, Capltol/EMI Clock DVA Tba Act WaiTrax Various Artists The Joha Zorn Radio Hour WEA Various Artists Sound Bites trom tha Counter Culture Atlantic Bolt's Your Duel* Tai* ot2 Lags Dr. Dream MOM Haad/Dowa Nettwerk Jack Kerouac Tha Jack Kerouac Collection Capltol/Enlgma/Wor Id Beat De*o Smooth Boodle Maps Capltol/Enlgma HDV Sax, Drugs * Violence CBS/lsba Various Artists Wera All la lha Same Gang WEA Mark Stewart Metatroa Neville Brothers Brothers Keeper UM Maalathlnl&theManotella... Parts Sowtn PolyGraaVUrbaa Africa IbWMMoe All the Statt (ami Mora) Vamma tma *• WEA/Sbe CotthBrua* Rupture C/Z Rest hi Pieces Load mm Plowed ami... live! UadarMrSkm Roadrunaar Victims at tba Mixing Om* Volume 1 Vis lo. Philip Perkles Shapiro, Varmaar, Florida ami Saa Francisco Fee Musk Various ArtIsts Celebrate tha Sonic Arts ana Hrtt Shadowy Moe oa a Shadowy... Savvy Show Stoppers CargrVJetpac Stereo MCs The Stereo MCs MCA/4 th 8. B'way/Gea St Estrus New Alliance MCA/Is land/Mango Ginger Baker Mlddla Passage MCA/lsland/Mango/Ailon Seap! World Power BMG/Arista F.U.C.T. Dlmaaslonal Depth Par caption Car ty le Negazhwe Tha Wild Bunch/tar Ir Days Wa Bite Bad Br alas Th* rmm Ara Getting Restless Carolina Haywire Private Hell We Bite Le Mystera ia Vobt Bulgar « A Cathedral Concert PolyCram/Phllips Ala la T). loan It von SRI/Dltreska 1 Media Joha Doe Meal John Do* WEA/DGC Dead Milk man Metaphysial Giattlttt Capltol/Enlgma Steel Pole Bath bb tare* Shartse College of Gaodaa... Tibetan Buddhism Bridge Various Artists Hot World Sonet Paleface Backlash Final Not ke MarkLanegaa Tba Winding Sheet SubPop Deee-Lite Sampla-Dellc WEA/Elektra MCJacooie SoLlstm Capltol/CEC Carl Stone FourPlecas Electro Acoustic Musk Master Aca Take a Look Around WEA/Reprlse/CoM Chlllln' Billy Bragi The Internationale PotyGramAltlllty Mail Priest Bonatide A4M/Vlrgln Eric B _ Rakhn Let the Rtirtbm Hit-am MCA Various Artists Music ol Harrr Partch CRI Holly Cole Trio Ski Taat Capitol/Alert Guilt Parade Coprophobla Fringe Ever last ForeverIter las tin' WE A/Rhyme Syndicate Patrkk Street blsh Times Green Linnet Dwarves Blood, Guts mt Pussy SubPop TheFartz You. We See You Coming Empty Third World Serious Business PolyGranVMercury The Jody Grini Oaa Maw's Trash ts Another Mat's Treasure DB Recs Mano Negra Putas Fever ASM/Virgln The Brown Album Land ol the Damned The Greg Johnson Set The Watertable Task Shock Alai WE A/Slash Eggplant Monkeybars Gang Green Cant Live Without It Chaba Fadela A Cheb Srtraqul Hana Han a House of Large Sizes Haat Miser Modern Vending One Bat Peccary WIM Flowers Tales Like These TheWarratahs Too Hot tor Sleep... LaMuertre Death Race 2000 Wai Trax Mallow Man Aca Escape trom Havana Capitol Enor Asphalt Paradise Desert Engine 3-D Invisibles They Wool Star Beat! Neurotic Bop Ass Ponys Mr. Superlove Okra DaK. Davlg U ■ Lucttuge Def American Judy Nylon Pal Judy Reach-Out International Hi: Ii]:, 0 4 ;*fem*mm'¥XmWmXi&9 WIi__l 36 DISCORDER ■■111:1 •IXtmmmm. ARE YOU SERIOUS? MUSIC 8:00AM- 12:00PM The newest new music: Ugetl. Dhomont. Schittke. Lutakowskl. Blrtwistte. Information on concerts, recordings, composers. Paul B.A. Steenhuisen and Ian Crutchtey al- tematlng weeks. THE BRUNCH REPORT 12:00- 12:15PM News, sports, weather and more with the CITR News. Sports and Weather Departments. THE ROCKERS SHOW 12:15-3:00PM Reggae. Roc k Steady and Ska with George Barrett. THE SUNDAY NEWS MAG 5.00- 5:30PM CiTR's In-depth current affairs/news magazine show. Coverage and analysis of UBC News plus news and sports, dally editorial commentary, entertainment reviews and reports on events here at UBC. all In a comprehensive and comprehensible magazine package. And we promise, no traffic reports. HEARSAY 5:30-6:00PM CiTR's literary arts program needs YOU to submit your works for on-alr performance or reading (by you or us, your choice). ELECTRONIC SMOKE SIGNALS/DECOMPOSITIONS 4:00-8:00? M Information, news. Interviews, political analysis from the global cultures of resistance hosted by Horaclo de la Cueva, alternating Sundays with eclectic music and caustic alphabets/spoken word. RADIO FREE AMERICA 10:00PM- 12:00AM Join host Dave Emory and colleague Nip Tuck for some extraodinary political research guaranteed to make you think twice. Bring your tape deck and two C-vOs. Originally broadcast on KFJC (Los Altos, CaWornia). m\\%m^K\>JLY^m\\%m THE MORNING SHOW 7:308:15AM From the famous siren to Ihe not- so-famous BBC Radio News Reel, wake up with the CITR Moming Show. Information to go: news, sports, weather and 'scenic view' reports, features, entertainment reviews and Alberta hog prices. Not for anger and despair, but for peace and a kind of home. Suicide note of Lewis Hill, founder of KPFA Berkeley - 1957 BREAKFAST WITH THE BROWNS 8:15- 11:00AM Are you blue? Get Brown! Your favourite brownsters James and Peter offer a savoury blend of the familiar and exotic in an excitingly luscious blend of aural delights! Tune in and enjoy each weekly brown plate special. THE AFTERNOON REPORT 1:00- 1:15PM News, sports and weather. THE CITR DINNER REPORT 5:00- 5:30PM See Sunday for details. SPORTS DIGEST 5:30-6:00PM Join the CiTR Sports Department for all the latest in Thunderbird varsity sports action and sports everywhere else for that matter! FACING THE MUSIC 6:00-8:OOPM A music/Informational hour with an emphasis on topics related to awarenessandsanity. HostWayne Davis. BOXER SHORT BOYZ 7:00-9:0OPM Wear boxer shorts and walk with confidence. Jerome Broadway and Garnet Timothy Harry alternate weeks. THE JAZZ SHOW 9:00PM- 12:00AM Vancouver's longest running prime hme jazz program. Hosted by the ever-suave Gavin Walker. Features at 11. 3rd Parallel Realities with three virtuosos Pat Metheny. Herbie Hancock and Jack DeJohnette in an ego-free collective. Ths group opened this summer's Montreal ARE YOU SERIOUS MUSIC ELECTRONIC SMOKED/DECOMPOSITIONS ONE STEP BEYOND/RADIO FREE AMERICA ^COHERENCY BREAKFAST WITH THE BROWNS MOOO-ZICK __B.ui.ui 11: WEEKLY SHINDIG 90 WINNERS ANNOUNCED HERE KERENTAFFEHRZ ■HM-aFJ-WJW >*_f„*l:M:l.«*_:EI SUMTHIN' NICH PERMANENT CULTURE SHOCK OPEN COUNTRY JOY/OPEN SEASON TOP O'DA BOPS UVE FROM THUNDERBIRD RADIO HELL [___I_1__]_] NOISE TWO H__C2________ Jazz Festival. 10th The Unheard Mingus: Part 1 of rare broadcast tapes by the Charles Mingus Jazz Workshop. Bassist and composer Mingus leads Booker Ervin (tenor). Toshiko (piano) and others in one session and Pepper Adams (baritone) and Charles MacPherson (alto) In another. 17th What Is Jaz_? School time: an educational and often humourous look at what Jazz Is and what It Isn't. Narrated by Leonard Bernstein who plays piano and sings(?) along with examples by well known Jazz players. 24th The Unheard Mingus: Part 2. More rare broadcast tapes by two editions of Mingus' Jazz Workshop. ___M i i J 4-1 »J: Yt--_B__-_. THE MORNING SHOW 7:30-8:15AM See Monday for details. THE AFTERNOON REPORT 1:00- 1:15PM See Monday for details. BLOOD ON THE SADDLE 1:15- 3:00PM Country music to scrape the cowshlt off your boots to. With yer host-poke Jeff Gray. THE UNHEARD MUSIC 3:00-5:00PM Demo Director Dale Sawyer provides some insight into the best and the worst of the newest Canadian music. THE CITR DINNER REPORT 5:00- 5:30PM See Monday for details. B.C.FOLK 5:30-7:00PM The thoughts and musk: of B.C. •folk' artists, hosted by Barb Waldern and Wayne Davis. AVANT PIG 7:00-9:00PM Avant-garde thuggery with Pete Lutwyche. First Tuesday each month: World Music Exploration. ■■■ 11 ire-iii ,. _■ THE MORN ING SHOW 7:30-8:15AM See Monday for details. THE AFTERNOON REPORT 1:00- 1:15PM See Monday for details. PAULA'S MUG 3:0O-5:0OPM The only alternative to KLYN. THE CITR DINNER REPORT 5:00- 5:30PM See Monday for details. 7 8 9 10 11 12 1 2 3 4 5 KERENTAFFEHRZ KERENTAFFEHRZ HOME VIDEO INTERNATIONAL THE NEW AFRICAN SHOW 7 8 9 10 11 12 1 2 3 4 JIGGLE 7:00-9:00PM Mlkey's here, Gavin's here. Six years of combined DJ experience. 40 years of lovin' experience. Games, hiking, drugs, orgies. Impetuous banter: an adolescent paradise. PERMANENTCULTURESHOCK 9:00- 12:00AM Permanent Cper-md-ndnt): lasting, intented to last, indefinitely Culture Ckdl-chdr): (1) the civilisation of a given race or nation at a given time or over all time; (2) the raising of microorganisms In specially prepared media for scientific study. Shock Cshdk): (1) violent collision, concussions; (2) sudden and disturbing mental and physical Im- ______ I: HI ;M«7:V*----_b_B THE MORNING SHOW 7:30-8;15AM See Monday for details. NOWYOUHAS JAZZ 8:15-10:00AM Jazz with Tommy Paley. HANFORD NUCLEAR PIZZA PIE 10:00-11:00AM Rowena's moving. She doesn't know where. Any suggestions? THE AFTERNOON REPORT 1:00- 1:15PM See Monday for details. FLEX YOUR HEAD 3:00-5:0OPM HARD JINX ERIC CORE THE CITR DINNER REPORT 5:00- 5:30PM See Monday for details. ARTS CAFE 5:30-6:00PM Be updated, be with it, be informed about Art, theatre, film and any other cultural event happening in Vancouver. WithAntjel TOP OF THE BOPS 6:00-7:00PM Musical chef Marc Coulevln bolls up a tasty pot of gumbo stew. 1 c. rockabilly fools ' 2 tbsp. wild western-swingers 2 tbsp. rompin' R&Bers 4 tsp. jumpin bluesmen 3 tsp. country swingers a pinch of doo wop a zest of cajun and zydeco and a dash of surfin' intros Stir well and simmer. Bonappetit! I OUT FOR KICKS 7:00-9:00PM Wild beat protest youth with Pat UVE FROM THUNDERBIRD RADIO HELL 9:00-11:00 PM Local music played by Adam, Ed, Tom, Janis and Andy from 9 to 10. Live bands from lOto 11. Shindig!!!! | 6th The Nlghtstalkers debuting tunes from their new cassette Cloud 9 in Outer Space 13th Tune in and find out why Dogzllla is CiTRs most requested band 201h Tonight, The Logic Conspiracy helpingCiTRcetebrateUBC Clubz Daze 90 ► 27th AuntAcldbringlngyou'spray paint punchy rawk* SOUND OF REALITY 11:00PM - 1:00AM Experimental Radio, with Vision! featuring environmental sounds, found noises, information/propaganda and the world'sethnic and h experimental musics from the auditory fringe. Live! Contributions welcome. Practitioner: Anthony Roberts. MEGABLAST! 1:00-4:00 AM Compact discs and concepts on autorepeat, band specials, turntable feedbackgammon courtesy at. uncle mifty, stagnating creativity: welcome to late night radio where the Ghetto Boys are considered artistic. ____-_■ -Til »7'V*r»___wa__l MOV1NG IMAGES 10:30-11:00AM Join host Ken Maclntyre as he takes you on a tour through the silver screen's back lot of live with film new* reviews. Interviews and soundtracks. THE VENUS FLYTRAP SHOW 11:00AM- 1:00 PM Greg Elsie is your guide through these two hours of music and fun. Tons o' new tunes. And disco too! THE AFTERNOON REPORT 1:00- 1:15PM See Monday for details. ITS NOT EASY BEING GREEN 1:15- 2:30PM The greenest of the CITR DJ crop try to germinate and take root on the air. Ifyou are interested In CITR programming opportunities, call the Program Director at 228-3017. ABSOLUTE VALUE OF NOISE PART ONE2:30-3:30ANDPARTTWO4:00- 5:00PM Found sounds, tape loops, compositions of organised and unorganised auralify. power electricians and sound collage: 100% Canadian Industrialism. NARDWUAR THE HUMAN SERVIETTE PRESENTS... 3:30-4:00PM Keep on rocking In the free world. THE CITR DINNER REPORT 5:00- 5:30PM See Monday for details. HOME VIDEO INTERNATIONAL 6:00- 9:00PM Movies remixed for radio. Taping this program is strictly prohibited. FOR THE RECORD 6:30-6:45PM Excerpts from Dave Emory's Radio Free America Series. HOMEBASS 9:00PM- 12:30AM Turn your home into your very own club. Get out your flared pants, put on your dancing shoes and prepare yourself for 3 1 /2 hours of house, new beat and a little disco and rap thrown in to liven things up. Dope jams and fresh beats for a groovy evening with DJ Noah on fhe wheels of steel. a_.BE f \ iU il»7:V_: ___■ THE SATURDAY EDGE 6:00AM- 12:00PM Steve Edge hosts Vancouver's biggest and best acoustic/roots/ rogue folk music radio show. Now initssixthyearonCiTR! Roots music from around the world, new releases , studio guests. and the World Cup Football Report at 11:30. THE BRUNCH REPORT 12:00- 12:15PM News, sports, weather and an appropriate amount of more. POWERCHORD 12:15-3:0OPM Vancouver's only true metal show with the underground speed to mainstream metal; local demo tapes, imports and other rarities. Gerald Rattlehead and Metal Ron do the damage. IN EFFECT 3:00-5:00PM The Hip Hop Beat brought to you by DJ's Somethin' Smooth, BZ Jam and Chazzy B. THE SATURDAY MAG 5:00-5:30PM See Monday for details. THE YAP GAP 5:30-6:00PM Hear figures in the Arts world talk about their works, other people's works and anything else that occurs to them. Hosted by Antje Rauwerda. THE NEW AFRICAN SHOW 8:00- 10:00PM World of Africa Dance Party We welcome each other home We the children of Africa and We welcome you All you of the other heritages Of our beautiful world In peace, harmony and oneness To our house party Welcome. THE ELECTRIC ENEMA l:00-4:0OAM The Cosmic Cat and Mrs. Needles are off on another adventure. Lotsa guitars and fast music. Don't shower alone. ___*VHSII___n C iTR provides free airtime for Community Access by groups and individuals. Ifyou oryour group would like to say something to someone somewhere, please call the Program Director. _■___■ '/•; m>; -a_____« CiTR wants you to become involved wifh your friendly UBC Radio Station which broadcasts at 1800 watts to the campus and beyond. Opportunities abound! Wheeee! Programming, producing, editing, writing, engineering, operatating, announcing, hosting, etc etc. Come by the studios during normal business hours. Or phone us. ______■ VJSL'Ji'jrfrmmmWm ARTS ANTJE RAUWERDA DEMOS/CASSETTES DALE SAWYER ENGINEER RICHARD ANDERSON EXECUTIVE ENGINEER ADAM SLOAN MOBILESOUND LINDASCHOLTEN MUSIC LLOYD ULIANA. RANDY IWATA NEWS KIM TRAINOR PRESIDENT ROBYNN IWATA PRODUCTION MIKE LYSENG PROGRAMMING RANDY IWATA SECRETARY JOELFRANSEN SPORTS JEFF PATERSON STATION MANAGER LINDA SCHOLTEN TRAFFIC TOMMY PALEY VICE PRESIDENT BARBARA ELGOOD VOLUNTEER COORDINATOR BILL BAKER mmm**** i;:>l._____■ BUSINESS UNE 604/228-3017 DJ UNE 604/228-2487 (228-CiTR) NEWS UNE 604/222-2487 (222-CiTR) FAX UNE 604/228-6093 ENVOY ID CITR.FM STAND IN UNE ROOM 233. SECOND FLOOR OF THE STUDENT UNION BUILDING. 6138 SUB BOULEVARD. UNIVERSITY OF BRITISH COLUMBIA, VANCOUVER. BC. CANADA V6T2A5 mjjbttiiwi'MWium CiTR presents the first annual rap contest to be hetd on the 7th and 8th of September in the SUB Ballroom here on the UBC Campus! Categories: MC... DJ... dancers... groups.... Prizes for the various categories include recording time courtesy of Profile Studios and Rad Studios, gift certificates from Zulu. Odyssey. Rhythm Zone and Barrett Electronics, subscriptions to StreetSound Magazine, equipment from Gemini and an opening spot for an out-of-town rap act produced by Perry scope. Allages! With special guests EQ. For more information, call CiTR at 228-3017. mmmW~-i: IISI >1 /> */'_■■ That local band competition is back. CiTR is in the process of organising Shindig 90. the live band competition to be held this fall at the Railway Club (579 Dunsmuir). Bands interested in entering Shindig 90 should submit a cassette to the Shindig Coordinator complete with bio and phone numbers. For more information, call 228-3017. WII:I**iVI--r'4>7ir*4m UBC's big clubs extravaganza takes place from Wednesday September 19th to Friday September 21st on the UBC Campus. CiTR is cel ebrating Clubz Daze wtth noon- hour concerts on the SUB Plaza from 12:30. 19th Rallied Rooster* and Waterwalk 20th E.J. Brule from Montreal 21st Jodie "Elvis-Cranston Be sure to drop by the CiTR booth on the main floor of the Student Union Building. Preparations for the third annuai CiTR Week are now in full swing. Taking place on the UBC Campus during the third week of November, the week-long event completely produced by CiTR promises to be an extravaganza of fun and frivollfyfor your ears, your eyes and your nose. Stay tuned to these pages, the radio and your local poster board for more details! UmWHli;e^-J>l;t^mmm Once again, that crack CITR Sports Team will be covering the UBC Thunderbird in action in selected ice hockey, football and basketball varsity games. Play-by-play action pre-empts regular CiTR. FOOTBALL Saturday September 8th at 7:30pm vs Simon Fraser University Saturday September 29th at 2:00pm vs. University of Manitoba Saturday October 6th at2:00pm vs. University of Saskatchewan Saturday October 20th at 7:30pm vs. University of Alberta Saturday November 3rd at 1:00pm vs. University of Calgary ICE HOCKEY Friday October 19th at 7:30pm vs. University of Regina Sunday November 4th at 1:30pm vs. Univeristy of Manitoba Friday November 23rd at 7:30pm vs. University of Brandon Friday January 18lh at 7:30pm vs. University of Alberta Saturday February 2nd at 7:30pm vs. Unrversityof Lethbridge Friday February 6th at 7:30pm vs. University of Saskatchewan Friday February 22nd at 7:30pm vs. University of Calgary BASKETBALL Friday November 2nd at 7:30pm vs. Simon Fraser University Saturday November 17th at 8:00pm vs. University of Saskatchewan Friday November 30th (time TBA) vs. University of Victoria Saturday December 1st (time TBA) vs. University of Victoria Saturday January 12th at 8:00pm vs. University of Lethbridge Saturday January 26th at 8:00pm vs. University of Alberta Saturday February 9th at 8:00pm vs. University of Calgary B.C. High School Basketball Final Saturday March 16th, time to be announced. CWUAA playoff schedules to fol- MMVa/M/>__■_-_■ CiTR welcomes all forms of aural expression with open ears. If you want to submit any material, just remember to include important details like names, phone numbers.addresses,etc. Send/address your stuff to the attention of the Music Department please. On these pages, you will find three separate charts indenfifying the most played new releases and other keen material CiTR has received in the past little while. The charts areorganised according to relative airplay from information supplied by programmer playsheets. For more information on CiTR's broadcast of musical expression, please contact the music department or the individual programmers. r tiles -1: [•]:*__».:.•_•_■_ *1-1 • __■______■_■ "Votowla" ir PolyGram/4AD koT -Dkk Tracy- ir WEA/Sk* Jane's Addiction "StopTTnreeDayrir WEA -One Love" ir BMG/Sllvertone ConsolMatod "Dysfunctional" ir Nettwerk Happy Monday. "Step On" ir PolyGram/Fnctory DkklOM Tm a ManVSaddle Trnmp" 7" SubPop Henry Rollins -1 Know Yon" r SubPop Queen Lntlf nh & De la Soul "Manja Own Birth to tho.. -ir Tommy Boy Mudhoney 'You're Gone7"You Make Me Ole" r SubPop Hilt "Stoneraan" ir Nettwerk MIchleMee "Jamaica. Funk" ir WEA/Flrtt Priority Industrial Artz "Psychotic Reaction" ir Squid Brothers Young Gods Longue Route7"September Song" r Cargo/Wan Trax Poison Clan "The B"*hThntl Hate" ir Lake They Might Be Giants "Istanbul (Not Constantinople)" CO EP WEA/Elektra Stetsasook Lamia Legend** Pink Dot "Anytime Anyplace" ir Tommy Boy l "Princess Coldheart" 12" Cargo/Win Tm EQ "Put Your Body k IT ir laf la tie Beat Nitzer Et* "Getting Closer" ir DGC Poison Iden "Just to Get AwayVKkk out tha Jams" r America. Leather Heart Throbs "Dream Time" CO single WEA/Elektra Foetus lac. -Butterfly Potion" ir Cargo/Wax Trux Was (Not Was) "Papa Was a Rolling Stone" 12" PolyGram/Fontaaa Frontline Assembly "keolata" ir Cargo/Wax Trax Inspector 12 b/w Libido Boyz Spirt r Family Fast Face Value Coming ot Age r FP Conversion Bke Aeroplane* "...And Stones" CD single MCA/Chrysulls/Ensl|u Black Bra "Everybody Everybody" ir BMG/De Construction New Order "World h Motion" ir PolyGram/Fnctory tee Cube "Amnrlkkka's Most Wanted" ir Priority LunachIcks "Cookie Monster~rCompllcstloa" 7" Blast First "Heatseeker" ir Cargo/Wax Trax Network "Walk Like Sex" ir Musk Dome Poison Mna "DlscontenrrJallhouse Stomp" 7* American Leather Marble Orchard "Something HappensT'Ever Think About Me?" 7" Estrus Sockeye b/w Choozy Sensation Split r Family Fast Above the Law "Untouchable" ir CBS/Epk/Ruthkss Hammsrbra -Kept House-r Big Fla mlng Ego Nitzer Ebb "lightning Man" ir DGC Accused b/w Morphuls Split r Empty Janes "How Was It for Your ir Poly Gram/Fon tana Afro's "Feel IT ir CBS/Rush Pare Joy Soto Throte Dead Boat TIP No Throe* Charlatans "Tha Only One 1 Know" ir PolyGram/Sltuatlon 2 The Creep* "Ooh—1 Like It!" ir WEA/Allantlc Chill Rob 0 "The Power" ir Electric/Somersault Goober Petrol b/w Vehicle Derek Spilt 7* EP Bon Tuneage Suckspeed "StormbrlngerTStep Out" T We Bite »1i:[t_q-4i,jr:l'i:i4i[HIJ:l;.r£*i^i:i-^_tlt__| The Picasso Sot "Bitter Lemon" 3-song demo cassette Rocket 88 "Gimme Some Action" 2-song demo cassette Watch Children "Kinda Retarded" 9-song demo cassette Roots Roundup "Boulderdash" Get Rooted! Tankhoj "Reptlllon" 2-song demo cassette Rattled Roosters -57 Cadillac" Get Wilt! Off**! "Long Face" Bright Red Paint Headstart! "Calling You demo cassette Furnaceface 'll l*eo" Lelrt Down Trembling Mlmsles "Got Weir George J els ons Karma Jazzmanian Devils "One Scotch, One Bourbon, One BaoT Happy Hour Honest Joha "Still Missing You" 1 Track Madness UMS "Middle East" "Middle East" Dogzllla "0k Mauer" "Die Manor Foreign Factor "Thanks 4 the Ride" "Thank* 4 the Ride" Nuclear Holocats "Mister X-TA C" "Mister X-TA C" Joloka "Aviary (1) Crow" Joloka Memory Day "Addiction and Devotion" demo cassette Jazzmanian Devils "X Ray Cat" Happy Hour Opposite* Attract "Mother Nature" 1981 Sadhappy "Social Retard" Sideways Laughing Donald Campeau "Alter a While" Pen Pals Myk Gordon "World s Little Me**- The Emperor's Bot Ho Clothes Darkling Thrushes "Hall of Souls" 4-song demo cassette Glee "Vancouver" "Vancouver" Howe Sound -Somebody Girl" 4-song demo cassette Steve Adams "Rage aad Ancient Times" demo cassette Baton "Complacency Will Devour U(" Baton 2 The Mint 100 "Summer of Discontent" 5-song demo cassette Bacteria "Industry" demo cassette Voi Popull "Sorry" Ot Beyond Zebra Common Language "Dead White Horse" Common Language Nellie's Room "Bleed for Me" demo cassette Baron Von Fokker "Beads of Cholesterol" live on CITR Jimmy Roy's 5 Star Hillbillies "Everybody's Talkie'" 6-song demo cassette Hoover Effect "Zombie" 18th Wonder ot the World Noisefloor "Too Much Negativity" Sideways Crucified "Wheel of Hate" "Wheel of Hate" "Beacondsend" From the Cain Tout Sessions Jack Feeis Fine "Block Sky" 5 song demo cassette Video Bar-b-que "Subway 5pm" 6-song demo cassette Rap Rat "Do the Rat Thing" Rata-tat Attitude Hollowheeds "Ocean" 3-song demo cassette "A Question of Love" 3-song demo cassette Plant of Spider* "A Place I Found" 5-song demo cassette Emily Farynu "Ding a Ling- The Return ol the Repressed Mortal Puzzle "Drag" "Drag" The Surrealists "The Creep" Fish! Nlghtstalkers "Images" 3-song demo cassette SEPTEMBER 1990 35 £5^ That old yeasty smell still like a sweaty quilt over the city, a late afternoon invitation to snuggle down in the cozy warmth of some small pub and mutter "Aye, aye, aye" to yourself. Not much immediately obvious has changed in my 18 months away from Scotland, at least not in the weak, watery light of a May afternoon. That's a small surprise, I suppose, in a city with landmarks that date back (if only in name) to Arthurian times. The Royal Mile still rears its spiky spine through the city centre, reminding me of Godzilla resting on her belly, conserving energy for the next stomp session on poor old Tokyo. With its liberal frosting of dogshit, Portobello still cringes contemplatively at the seaside like a tomcat studying a wave tossed dead fish. The house I used to live in still presents the same grimy stone pokerface to the sea. The girls I used to know think of themselves as women now, and I suppose they are. They're still in school or not, alcoholic or not, married or not. Nothing much has changed. They still won't go to bed with me. But then after all it is the 90's in the "AIDS Capital of the UK," and the scary poster advertising has finally switched into high gear. Apparently a great deal of the blame for Edinburgh's AIDS statistics is laid at the feet of IV drug use, for which the city is inexplicably notorious. The only people who seem to want to talk about it are the folks from outside Edinburgh, who go all googly-eyed when I 38 DISCORDER mention I'm staying there, who lean a bit closer and whisper conspiratorially "Did you know...?" I dutifully make the required comments of surprise and dismay, join them in a hearty round of disdain and disapproval of the cesspool of vice and decay that is Scotland's capital, and invariably make a sophomoric joke about condoms. Sitting as I did today, though, in a sun-suffused morning in the park near Waverly Station, listening to the shouts of children and seagulls, it's hard to condemn the city too harshly. But in the immortal words of whoever the hell wrote that Clash song, all the scum come out at night. So do I, but, well, you know what I mean. Even if the AIDS scare is a new thing, I suppose there've always been junkies and men who categorically refuse to "wear a little rubber thing on their dick." Nothing new there. What is new, in the clubs and bars and student gatherings, is the way these and other people listen to music, and the music to which they're listening. In a country whose musical loyalties careen drunkenly from style to style, where "in" and "out" flip flop in the span of weeks, it's not that surprising that tastes have changed noticeably in the span of 18 months. What is remarkable, though, is the wholeheartedness of the change, and the degree to which it's been ignored by the media. There have long been the baths and the lockers and the punk never-say-dies and the popyuppies and the various wannabes. There's also a huge dance music scene that easily survived the happily rapid demise of most of the acid house shenanigans. They take their dancing seriously here, and they've held on to those beats per minute with the tenacity of a pitbull making dinner of a pensioner. But in Edinburgh, at least, it was primarily the Goths that held sway amongst school- leavers and University-age young people, and for an astonishingly long time. "Goth" has always seemed to me to be less a matter of music than of clothing. Thinking I might be judging hastily, I asked around. And in spite of the great numbers of people who have until recently dressed in the Goth style (all doom, decay, darkness and depression), there seen to be very few who can concisely explain what Goth is about apart from that dominant fact of clothing. A friend, during a drunken grapple with the slippery Goth ethos, said you must be able to dance to the music. I mentioned the latest Rick Astley single, and tried valiantly to arch an eyebrow. He qualified by saying that you should be able to dance to it, yes, but dance with an attitude. The attitude presumable encompasses such diverse elements as doom, decay, darkness and depression. Goth is, appropriately enough considered its fixation with matters necrophiliac, dying. A new champion has arisen from the guitar-strewn fields of the musical style wars. The t-shirts are out in force, the leather jackets have been laboriously repainted, and everywhere \*~ by Christopher Kovacs the city young men are sitting in dim rooms with expressions of intense concentration, trying to make their hair gTow faster by sheer force of will. The Edinburghers refer to this music that has so dramatically changed their collective musical preferences, innocuously and uniformatively enough, as rock'n'roll. But they don't mean Jerry Lee Lewis or say of the Elvises here; they're thinking more of Motley Crue and the Cult, of the Quireboys and the Black Crowes, and other bands of that ilk, both unlauded and not. If cornered, I'd put it all in the spectrum of metal to popmetal to justplain (if a little crunchy) pop. And so going out to some of the clubs my Scottish friends frequent these days, I find myself heartily regretting my decision to cut my hair. As we enter the metal mecca known as madison's, a group of metal bully boys, some with childscaring potential to rival that of the legendary Lemmy Kilmeister, eye my newly shorn skull suspiciously, but make no comment. They'll give the loan of a tie for the underdressed at some of the posher restaurants, or so Hollywood tells us. Why not the loan of a wig for the hair- impaired at Madison's? No matter-we're in amongst them now, and I fight off the urge to order Jack Daniels' as a sort of protective colouration. I fight off the urge to giggle a bit, too. Some of the spandex'n'denim'n'leather combinations are at best uncomfortable looking, at worst potentially lethal. Best of all are the primitive types, hair straight and uncut, with a band t-shirt and skintight denim encasing skinny shanks, standing in a circle in the centre of the floor. Just standing there amongst the disco lights on a highly polished dance floor. The DJ has announced that he's playing a song by Hell'o'ween next, and these lads want to be prepared. In the presong silence they widen their stances carefully, hang heads limply, and as the guitar begins is assault, they begin to, well, bang their heads. In a circle, hair flying, for four minutes they enact their dead serious ritual, then return to their seats or stand blankly awaiting the next musiCal trigger that will set their heads bobbing. All I can think of is a rock'n'roll circle jerk, which my companions find not very amusing. The night progresses apace, and as the headbangers give way to the weekend metalheads dancing to Tigertailz or Poison, the proportion of slash-kill-mutilate metal declines. The propor- of booze-party- chicks metal increases correspondingly, and though I can stomach that variety marginally more than the nasty stuff, I drain my bear and leap up when my companions suggest departure. As we leave, I discover by the pain in my jaw that my teeth have been tightly clenched for a couple of hours. So I suppose a few things in Edinburgh have changed. Cobwebs and lace have given way to t-shirts and jeans. Guitars have gotten crunchier and electronics become a definite no-no. Pints of beer have been pushed aside for American bourbon. These surface changes are of little consequence, though. All that's really happened is that one calculated, contrived attitude has given way to another. It's all so very serious. The guidelines have changed, certainly, but the game is still being played, in all its unconscious self-parody. It may not be the decline and fall of western civilization, it may not even be particularly significant, but in some vague way, it frightens me a little. DEVO Devo's History is well known to any casual student of popular music. With "Smooth Noodle Maps", Devo establish themselves firmly as the purveyors of catchy, quirky pop tunes. Check out "Post Post Modem Man". 8' 99 .CASS. 1C99 LDa, CD HOLLY COLE TRIO Playing to rave reviews and sold out concerts all over the country, Holly Cole defies categorization... alternative jazz comes closest. Digitally recorded by Cowboy Junkies producer Peter Moore using his famous Calrcc Ambisonic Microphone. The ambience is beatnik, the singing unforgettable, the material unconventional. 7 99 1 ? 99 / oCASS. _L«J«C1) J Lo Uo JON CO Jesus Jones is a London-based 5 piece group with some murky, backwood origins they'd prefer not to discuss. The band has been busy with 3 singles in the UK top 50 and a UK gold album. And the press? The 1990 Readers Poll of Melody Maker, NME, and Sounds all named them top 5 in the "Best Band" category, while "Info Freako" made top 10 in all 3 for "Best Single of the Year". 8 99 1 C 99 • CASS. A*3«CD THE JITTERS Their second LP is "Louder Than Words", produced by cult hero Jules Shear. The combination of these two kindred musical spirits has brought anew depth and maturity to the group's material. Spare arrangements allow maximum room for the songs to shine through. R+B - flavoured material has made them campus favourites. 8 99 1 C 99 • CASS. X^7oCD REVENGE While New Order takes an extended hiatus from recording, the group's bassist/singer, Peter Hook, occupies himself as the leader of this new trio and delivers a most intriguing album. "One True Passion" is reminiscent of the best parts of New Order's "Low Life" in terms of combining driving rhythms and Hook's trademark throbbing bassline. 8 99 1 C 99 •cass. JL*D» CD SKYDIGGERS The warmth and intimacy of their harmonies conspires to enhance their melodic hybrid of acoustic pop rock. In an entertainment scene used to pre-packaged, form-fit, contrived rock, the Skydiggers shine through with songs full of emo- ,io„, full of life. O.CASS. A»J«CD RIVER CITY PEOPLE RealSongs about real life: that's the bottom line when it comes to the music of River City People. Their debut album, "Say Something Good" states their case with Tim Speed's chiming guitar, Siobhan Maher's crisp, assured vocals, and a firm grip on both a message and a hook. The title track and "Walking on Ice" in particular communicate their forthright intentions in a similarly clear-eyed fashion. ^ qq ^ _ qq O.CASS. J.3# CD MCJ & COOL G MCJ & COOL G mix rap with a bit o' Funk, spiced up with HipHop, in a sound we call Double R&B (Rap, Rhythm + Blues). The music comes from the inner city of Halifax by way of Montreal. MCJ is the rapper while Cool G provides the soulful vocals. "So Listen" is the debut single and album. 8 99 1 ff 99 •CASS. X^oCD LAVA HAY A blend of guitar, organ, piano, violin, flute, banjo, saxophone and the warm vocals of Suzanne Little and Michelle Gould. Guest appearances by Kevin Kane, Tom Hooper, Vincent Jones (The Grapes of Wrath). Produced by Steve Berlin (Los Lobos, Faith NoMore) 0 99 1C99 O.CASS. ±*?»CD NATIONAL VELVET Includes the singles, "Sex Gorilla", "Hysteria", and "Shine On". Produced by Zeus B. Held (Nina Hagen, Zodiac Mindwarp, Transvision Vamp). One of the best live bands in Canada; you will never forget the stage presence of striking vocalist Maria Del Mar. This is their second album. U.CASS. 15 99 THE COOLEST RECORDS STOMPIN' TOM CONNORS This 20 song retrospective collection is just a sampling of some of Stompin' Tom's songs about the people and places in Canada. This crosscountry section of Stompin' Tom's career includes: "Bud The Spud", "Sudbury Saturday Night", "Tillsonburg", "The Ketchup Song", "Lady K.D. Lang", and "Gumboot Cloggeroo". 99 THE COOLEST STORES 899 ie •CASS. JL Da, CANADA'S LARGEST AND BEST KNOWN RECORD STORE DOWNTOWN 568 SEYMOUR ST, EATON CENTRE METROTOWN, RICHMOND CENTRE, SURREY PLACE OiU^s m± c* ihc ^_f***- cyt ■ . m . _^_- ht \Aou\dcatrUza>ld.