JUNE 1986 • FREE!

That Magazine from CITR fml02 cablelOO THE

ON GRANVILLE JUNE 1986

MONDAY TUESDAY WEDNESDAY THURSDAY FRIDAY SATURDAY

2 3 4 5 6 . 7

The Velveteens Tex & The with The T.B.A. HERALD NIX Horseheads Belgianiques w/Spores & Roots Roundup

9 10 11 12 13 14 Animal T.B.A. Slaves The B-Sides Family Plot w/guests w/guests

16 17 18 19 20 21

Industrial Duke St. Recording Artists Waste Banned Chalk Circle THE PRIDE w/Harry & w/guests the Hackjobs

23 24 25 26 27 28

From Toronto: Lost Durangos The Dub Brilliant Orange T.B.A. w/guests Poets

7 to S PRE-MOVIE SPECIALS • NO COVER 7 to 9 UNLESS POSTED 932 GRANVILLE ST • OPEN 7 pm TIL 2 am • 684-VENU DfcORlfeR That Magazine from CITR fml02 cablelOO June 1986 • Vol. 4/No. 5

EDITOR Chris Dafoe CONTRIBUTORS Don Chow, Janis MacKenzie, Pat Carroll, Terry Walker, Ken Jackson, Bill Mullan, Kevin Smith, Steve Robertson, CD PHOTOS Bill Jans, Jim Main, Ross Cameron IN THIS ISSUE CARTOONS Chris Pearson, Rod Filbrandt Natasha M. 54-40: THE MAKING OF A DEAL Into the belly of the beast (the Great Horned Iguana, to be precise) COVER Bill Jans with Vancouver's latest major label signing. By CD. 6 PLASTICLAND PRODUCTION MANAGERS No, you idiot, not Expo...the band...from Milwaukee. Karen Shea, Pat Carroll Psychedelia from the home of Schlitz. By Janis MacKenzie. .... 10 DESIGN Harreson Atley LAYOUT IN EVERY ISSUE Pat Carroll, Randy Iwata, Vic Bonderoff, Karen Shea, Ken Jackson, Beverly Demchuk, AIRHEAD Dorothy Cameron, David Hart, Robin Razzell Dept. Dept. Dept. Letters to the new Airhead bureaucracy...... 4 TYPESETTING Dena Corby, Sheila Haldane BEHIND THE DIAL Volunteer Opportunities, early retirement, and more. 12

PUBLISHER ON THE DIAL Harreson Atley The essential guide to CITR's programming. ADVERTISING REPRESENTATIVES Tape it to your fridge, or the cat. 14 David Hart, Robin Razzell SPIN LIST DISTRIBUTION Bill Mullan, Steve Robertson Still no Whitney Houston in the Top 20? What's wrong with these people? 18 BUSINESS MANAGER Randy Iwata VINYL VERDICT New flat round black things from Wendy O Williams, 54-40, Laurie Anderson, Ryuichi Sakomoto. 19 DISCORDER, c/o CITR Radio 6138 SUB Blvd., Vancouver, B.C., V6T 2A5. Phone (604) 228-3017. ARMCHAIR EYE DISCORDER Magazine is published monthly by Kinky sex and World War III 22 the Student Radio Society of the University of British Columbia (CITR-UBC Radio). CITR fml01.9 cablelOO.l broadcasts a 49-watt sig­ nal in stereo throughout Vancouver from Gage Towers on the UBC campus. CITR is also available via FM cable in Vancouver, West Vancouver, North Vancou­ ver, Burnaby, Richmond, Coquitlam, Port Coquitlam, Port Moody, Maple Ridge and Mission. DISCORDER circulates 15,000 free copies. For advertising and circulation inquiries call 228-3017 and **«. ask for station manager Nancy Smith. **><* Twelve-month subscriptions available: $10 in Can­ v' ada, $10 U.S. in the U.S.A., $15 overseas. Send cheque •""•"O or money order payable to CITR Publications. CITR'S DESIGN-A-T-SHIRT CONTEST Unsolicited manuscripts, photographs, cartoons and graphics are welcome but they can be returned Just make sure your design includes* only if accompanied by a self-addressed, stamped envelope. DISCORDER does not assume responsibili­ Send your design to the words CITR FM 102 CABLE 100 , ty for unsolicited material. CITR Radio Attn: Kevin Smith VANCOUVER, B.C. The offices of CITR and DISCORDER are located s*f* in room 233 of the UBC's Student Union Building. For 6138 SUB Blvd. UBC RADIO general business inquiries or to book the CITR Mobile Vancouver, V6T 2A5 Sound System call 228-3017 and ask for station manager Nancy Smith. The Music Request line is Deadline July 25 tisrt 228-CITR. Ce^&* TRACK ijj RECORDS RH8Afc new second)nd storestore nov\now open new release ssssssssssssssssssssssss c/o CITR Radio 6138 S.U.B. Blvd. JOHN CALE Vancouver, B.C. V6T 2A5

Another Head Rolls hair much like a wig I have, and E in the Factual one presumably having fairly 2 I recently injected a large amount Verification Dept. of heroin. Dear Airhead, Imagine my shock when I at­ s Thank you for your coverage tended their next concert on 3 of Moev in the February Discor­ March 30! As the lineup grew, I der. However, for clarification it began to wonder if perhaps I had should be noted that credit for inadvertantly found a mini-pops support vocals on the Alibis EP benefit for Johnny Thunder. No goes to Christine Janes. I joined such luck, I soon discovered. As Moev after that record was re­ the kiddies became progressive­ leased. ly more inane, I saw the differ­ Thanks anyways. ences between Skinny Puppy ARTIFICIAL INTELLIGENCE Michela Arrichiello and Duran Duran begin to thin. (of Moev) The commercialism-run-amuck which I saw before and after the show only further served to con­ $6.99 Subscription Dept. vince me that there is no going home. I will not replace the Bites L/? or Cassette Oh No Not Another cassette which was recently Seymour store only. Letter About stolen from me (along with the 592 SEYMOUR ST. Skinny Puppy Dept. Walkman it was in). 682-7976 Yours sincerely, Dear life forms: Lee Howe I! I wish to obtain a one-year subscription to your monthly magazine, Discorder. Please find MCM & Associates enclosed my money order for ten Street Beef Dept. SOUNDPROOF and CITR dollars ($10.00) (Can.). Dear Airhead, Let me take the opportunity to I figure Discorder is the ideal present thank you at CITR for bringing place to air my frustrations regar­ Siousxie and the Banshees to ding the 1986 Peace March. Vancouver. I have been to four of the five In regards to the ongoing Skin­ marches that have taken place in ny Puppy credibility debate, per­ Vancouver, and where the others ncert haps I can contribute a some­ have had an exciting, almost what different viewpoint. radical feel to them, this one Being so far removed from the could only be described as too alternative music scene in Van­ damn sucky. couver, Skinny Puppy came to I realize how bad it was at the my attention only a year ago. rally at B.C. Place. Some lady What initially captured my atten­ tearfully lip-synched a song to a tion was the distortion of voice child. I retched when she finish­ which had appealed to me pre­ ed and tearfully hugged the viously in Nana Hagan and Jim child, much to the pleasure/cha­ Thirlwell. grin of the audience. Sickened to the point of phy­ Why on earth would they hold sical nausea by the vanilla pud­ a rally at B.C. Place? Where are ding, technically perfect voices the Hare Krishnas to dance? in pop music, Kevin's distorted, Certainly the hippies wouldn't be demonic screams which substi­ allowed into the stadium. tuted for vocals were very ap­ It was fortunate, however, that pealing. Image was of no consi­ the march was less Pro-Russian deration. I did not even see a pic­ Anti-American and more Every- ture of the band until last Nov­ one-For-Peace. But yech. How ember, and that one had a Boy sucky can you get? FRIDAY • JUNE 27th • 8 pm George face taped over Kevin As a friend suggested, it was Key's face. almost as if it was a Peace March UBC THUNDERBIRD ARENA When I attended their Boxing sponsored by Coke. Tickets at all VTC/CBO outlets - 280-4444, Odyssey Day concert, I saw no reason to Yech, doubt their sincerity. Three Bruce Arnold Imports - 866 Granville, and Zulu Records -1869 W. 4th rather average looking boys with Burger King actually. DISCORDER Eg du MAURIER jc3^ZZ FESTIVAL

VANCOUVER EXPO THEATRE Miles Davis Wynton Ma

UNE 23-291986 HYATT REGENCY BALLROOM 7th Birthday Tribute to NEW YORK THEATRE ENNY GOODMAN Jan Garbarek Group WESTERN FRONT Ornette Coleman and Prime Time Bill Frisell Tim Berne/Alex Cline June 24 Roscoe Mitchell and Sound Ensemble Ran Blake June 25 Abdullah Ibrahim

Tickets at VTC/CBO 280-4444 and Black Swan Records. 736-2897 information. ROBSON SQUARE CINEMA More Than 400 Musicians! Over 150 Performances! Bill Frisell Kaiser West Maksymenko June 23 8 pr Wondeur Brass/VEJI with Kenny June 24 8 Dr Wheeler Tim Berne Trio June 25 8 pr : senes THE MAJOR WEST COAST JAZZ FESTIVAL Obrador Paul Plimley Octet June 26 8 pn Ceslo and Carhnho Machado June 27 8 pn ) Ser'ie^ Nightclub performances at The Town Pump, Savoy. Pauhnho Ramos (Brazil) Arts Club Lounge, Hot Jazz Club, Classical Joint, Charlies, Mal Waldron Quartet June 28 2 pn Series Tne Yale and Basm Street. Jane Ira Bloom and Kent McLagan June 29 2 pn > series 4 free bandstands plus Canada Pavilion and Expo Bandstands ) Senes *Ticket prices subject to outlet service charges. Single Tickets $13 Series C or D $40

PRODUCED BY THE COASTAL JAZZ AND BLUES SOCIETY PRESENTED BY straighJkT Hi. S £ O KG I A • t^ COURTING THE BEAST

CD follows 54-40 in pursuit of the Great Homed Iguana—

ARCH 29, 1986. MARK THAT clippings. Things look a little better at Nett­ are still the muscle in the music industry. date on your calendar with a dol­ werk Records, although perhaps not as sunny lar sign. On one side of the dollar as their press releases would have you be­ HE PROCESS that took 54-40 from sign put the letters W and B. On lieve. The bands on the Zulu label are still the low-rent halls of the politically cor­ the other side, put the numbers 54 and 40. packing their own records in the offices above T rect MoDaMu collective to the swinish Okay so far? Now under this put a question the Fourth Avenue store. splendor of the corporate boardrooms of mark and an exclamation mark. I don't mean to paint a bleak picture, nor America's entertainment giants is every bit as Why am j asking you to do this ? Sheer perver­ denigrate the work these people have done complex and fraught with meaning as the sity, I suppose. Actually there is a reason, over the last couple of years. The point is that mating dance of the Great Horned Iguana. though it might strike you as somewhat spe­ whatever the creative accomplishments of the Indeed, the process bears no small resem­ cious. March 29 was the day 54-40 (hence the Vancouver independent music scene, its fin­ blance to the courtship rituals of that odd, numbers) signed a contract (the dollar sign) ancial underpinnnings are tenuous, to say the sometimes aggressive, sometimes different with Warner Brothers Records (and the least. And if the financial base collapses, the beast. On the one hand, the band: bright- letters). creative accomplishments will mean nothing. eyed, eager, yet wary of just what the Beast So what's the big deal, you say? Bands sign Dick. Welcome back to obscurity. wants to do with it. Not exactly the retiring contracts every day, and I've never considered Against this backdrop, 54-40's signing to virgin, but looking for Mister Right. On the marking the day on a calendar. There's no Warner Brothers represents a significant step. other, the industry: cynical, jaded, its reaction mark for the day Images in Vogue signed their No doubt, there will be mumblings of sell-out time showed by substance abuse and insul­ contract. There's no mark for the Payola$. Like, from some quarters, but in practical terms the arity, but aware that this sweet young thing who cares? deal with the American division of WB gives could be of some use. The two circle one Point taken: business deals aren't very ex­ the band international distribution, sidestep­ another, sniffing, probing the air with tongues, citing. But this date and this business deal ping the branch plant mentality that plagues making tentative overtures, flattering, feigning mark a significant step in the development of Canadian major labels (and which has proved indifference, showing enthusiasm, assessing Vancouver independent music. For five or six the undoing of bands like IIV and the Payola$). motives, gauging capabilities. years now we've been hearing what a vibrant It gives 54-40 a ^hance to show what can be The major difference between the reptillian independent music scene we have here in done with the money and power of a major courtship ritual and the signing process of the Vancouver. The envy of the rest of the coun­ label behind a band whose music is not made music industry is time. The Great Horned try, they said. Just you wait, they said. And specifically for the wasteland of AOR radio. Iguana either grows impatient and plunges for five or six years, bands have sunk under As ugly, monolithic and pigheaded as they ahead, or grows bored and retreats to rub itself a sea of red ink and indifference. The two in­ might seem, major labels still rule the roost off against a rock, usually within the span of dependent bands that were signed to Cana­ of the music industry. They have the money one episode of Mutual of Omaha's Wild King­ dian major labels are now up to their armpits and organization to press, distribute and pro­ dom. Even if it does follow through on the in hock to those companies, having failed in mote the music. They can get it to the neb- courtship, the whole affair is consumated in that major challenge facing Canadian bands bish radio station music director in Manitou, under a minute, leaving nothing but a pile of —breaking the American market. Elsewhere, Wyoming and to the Madonna-Wanna-Be in panting scales. In the music business, the DOA is still treading the independent path, Peoria, Arizona in a way that indies can only courtship is only the beginning, a prelude to despite bringing in Pinhead Brian McLeod to dream of. Despite the inroads made by in­ what both parties hope will be prolific nudge them towards the Hard Rock AOR dependent labels over the last five years, breeding. sound. Poisoned languishes on a bier of press major labels, satin baseball jackets and all, "The initial interest in the band came when 6 DISCORDER we were on tour after the release of Set The Fire, in April of 1984," says Allan Moy, who along with Keith Porteous, comprises Gang­ land Artists, the band's management com­ pany. "It was in the middle of the tour, and most of it was word of mouth. Then they con­ tacted MoDaMu's office and Keith called us and said 'this person from CBS Records wants to talk to you guys and see the band.' Once we got to L.A., there was quite a bit of interest stirred up—people wanted to see the band, people wanted to take me out to lunch and talk about the group. At that point we hadn't had any experience with major labels, so it was interesting to say the least. "But at that point we were spending all our time and energy trying to make an indepen­ dent release happen. We weren't going to major labels and looking for help there. They came to us, I guess, because of what we were doing with the independent release." "I think the important thing," says Neil Osborne, 54-40 guitarist and singer, "is that once we noticed that they were interested, we r didn't ignore it. We tried to understand it first, * and then capitalize on it, keeping what we wanted out of it. It wasn't the first time we'd considered major labels; when Keith and Allan took over the management of the band from our previous manager, Gordon Graham, we decided that the goal was to take 54-40 to an international level, and I guess that meant I major labels. But it was the first time we ser­ iously considered the prospect." The relationship between the band and Gangland Artists had its roots in the MoDaMu collective, which had initially formed to re­ lease, among other things, a single by Moy and Porteous' band, Popular Front. Moy had been working with 54-40 as part of the collec­ tive, road managing tours, and producing Set | The Fire. When that album took off in the States, Moy, now joined in the collective by Porteous, found that handling the business of 54-40 was a full time concern. Financial con­ cerns and tensions within their collective generated by the attention given 54-40 by Moy and Porteous prompted the pair to sever their ties with MoDaMu and form Gangland. Having severed their ties with MDM, the task of following up on the initial interest in 54-40 fell largely on Moy and Porteous' shoul­ ders. There were contacts to be maintained, tapes to be sent out. The process was not, according to Moy, an active courtship; people in the music industry who had shown interest were kept informed of the band's progress, but 54-40 was not ready to go, hat in hand, to the major labels. "The game plan was: this is us. You better appreciate us for what we are, what we do. If you're not interested in that, then I guess we're not interested either. There was no strategy, because there was no worry; we were 54-40; we were trying to promote this independent record, and if major labels wanted to come out and see us and talk about plans that they might have, we'd be listening. "I think the real key thing was that we weren't desperate to sign to a major label. If there was one impression we made in 1984 it was that if you're not interested at this time it doesn't concern us, because we're working on this record and we have plans to make JUNE 1986 another one. This group will be around in two scenerio of the recording being released on numbers in Canada, that's it. It's over." years, we'll be around in five years." our own label and a best-case scenario of the Having decided their best chances lay "I remember Allan telling us 'you can be an band signing a major international deal." south of the 49th parallel, the band toured the independent band for 25 years, and do quite West Coast yet again in October, 1985. The well," says Brad Merritt, the group's bass HE TAPES SHARPENED the interest goal this time was to penetrate the monoliths player. of a number of labels, mostly Ameri­ of the major labels and isolate the individuals "I told Brad that, and then I couldn't come T can majors and independents. While inside the corporate towers. up with one name. I'm sure there was one." Canadian major label response was not dis­ "We zeroed in on human beings," explains While the band maintained its independ­ couraging, none of the domestic companies Osborne, "became their friends, found out ence, it did not ignore the attention. By the made serious overtures. This lack of interest what they really thought." time 54-40 toured the West Coast again in in their homeland did not surprise the band. Among the individuals they focussed on August, 1984, the attention had become more "I always got the impression that Canadian was Kevin Laffey, a junior A&R (artist and serious. People from a number of labels, ma­ major labels didn't quite know what they would repetoire) rep at Warner Brothers. Porteous jor and independent, had expressed an inter­ do with a 54-40," says Moy. • had contacted Laffey after his previous con­ est in signing the band. "Canadian labels want a hit song right away, tact at WB had moved to another company. What followed was a lull in the band's or rather a hit sound, and I don't think they Concerned that the door at WB was shut career, from August to December, 1984. Por­ saw that in 54-40." since the company was not accepting unsoli­ teous had moved to San Francisco to work as Osborne is a little more blunt in his assess­ cited tapes, Porteous asked the contact who a booking agent and the band laid low and ment of the Canadian majors: "The last thing he could send tapes to. He was directed to wrote songs. In March, 1985, 54-40 returned I wanted to do was to sign a deal with a Cana­ Laffey, a fan of the band for a number of years. to the studio to record their third record. dian major label; I thought it would be the Laffey sent copies of 54-40's tapes to the "What Keith made clear when we went into death of the band. There'd be no room to grow, senior A&R reps at WB. A number of these Mushroom with Dave Ogilvie was that we were because the whole attitude is wrong. The contacted the band, interested in signing making a tape," says Merritt. "We were go­ whole music scene in this country is fucked, them. ing to pour all our resources into recording, as far as major labels go; they just seem like instead of setting money aside for pressing puppets of the American companies. And the T THIS POINT let's turn our attention and so on." American labels were letting us be ourselves. back to the Great Horned Iguana. "While the tape was being made, we got They weren't saying 'you're singing flat' or 'we (You do remember the Great Horned don't hear a hit'." A mixes and sent them off to our contacts at Iguana, don't you?) It has been observed that, various labels and got response," explains "The concern of Keith and myself was that as the mating ritual gets more intense, the Porteous. "The idea was that by the time the so many bands that had been signed on Can­ female of the species will often become con­ recording was finished we would have some adian major labels proper had such a difficult fused and lower her guard. She will appear sort of agreement. By that time the band had time presenting themselves on the internation­ overeager, raising her tail and waving her been withdrawn from the MoDaMu collective al scene," says Moy, diplomatically. "There's hindquarters seductively. This can have a and we were shipping those tapes to major handfuls of them that just don't do anything number of effects on the male of the species. labels, indie labels, everyone. So we had all across the border and then it gets to the se­ On one hand, he can suddenly lose interest. those contingency plans, with a worst-case cond record, and if they haven't done real big The male Great Horned Iguana is a notably HELL IS MY / ^ALWAYS DESTINATION JUST LIKE -fo r. —^; ftEMlMb PASS£N6fc*S4 THAT THE ftAK ANbZ gUFF£T /S STILL ^ f 30 AND STILL OPEN fOft THE «^ \CANT DECIDE SALE of ALCOHOLIC! AND NON-ALLoMOLict \WHETHEf> jo &£V£KAGES,T£A,<4 CPFF££. SAf/otilCMJ { %f*WA*t>S O* TOASJEb SANDWICH&T \JO^AKDSf°^/ HOTACOLPSMAt"' ANb TH£H ' ALL-PAY ^ M€AJCf#fM rh

May 30/31 WING NUTS w/guests June 6/7 ZEALOTS w/guests 13/14 L. KABONG w/THE YOUNG PUPS 20/21 HOI POLLOI w/IDYL TEA from Edmonton 27/28 THE HIP TYPE wfguests BIFF IS HERE! Biff Designs now available at the VLIVE MUSIC IN THE LOUNGE I FRIDAYS FROM 10:30-SATURDAYS FROM 11:30 P.M. T-Shirt Gallery ARTS CLUB THEATRE 1181 SEYMOUR 683-0151 2050 West Fourth • 738-0484 8 DISCORDER chauvinistic brute and likes the feeling that ND SO EVERYONE is happy, right? this whole process is a challenging seduction. The band's happy. The record com- Or he may make outrageous demands of the A . pany is happy (although there are female, figuring he's got her where he wants reportedly a few noses out of joint at WB's Announcing her. Canadian subsidiary WEA). So why have we Likewise, bands in pursuit of a major label left both a question mark and an exclamation the return of contract can lose a sense of perspective as mark on the calendar? (You do remember the the possibility of a deal becomes more likely. calendar?) The deal itself becomes the primary goal, and Simply because it is too early to tell whether HOUSE the music fades to the background. Some­ this is a good thing for 54-40. More than one times the prospect of a deal can paralyze a band has been spoiled by the pressure to sell. band as they wait for the hammer to drop. After all, someone has to earn the money to "There was a lapse there," says Phil Com- pay for those satin baseball jackets. Commer­ parelli, who plays trumpet and guitar with the cial pressures can do strange things to a band. "It went from 'you guys are really good, band. If, two years from now, 54-40 is still mak­ good luck' to 'we want to sign the band,' and ing music as vital, penetrating, and meaning­ COM for a moment it really slowed down the band ful as they have for the past six years, then as we sat back and said, 'well? well? well?', cross out the question mark and crack the waiting for something concrete to happen. We champagne. had to say 'whoa, let's go on our own, w/guests because we could be sitting here for years.' Conversely, if you're inclined to mumble It helped in that way, because it made us ask sell-out when the topic of major labels comes Unnatural Silence who we were doing this for anyways." up, you might be well advised to hold your counsel, at least for the moment. 54-40 have Silent Shadows "The thing you have to figure out when broken the cycle of stagnation that has pre­ you're dealing with A&R people is where that vented the Vancouver music scene from person is in the company," explains Moy. reaching a wider audience. Positive things JUNE 20 • 7:30 p.m. "We'd get these people saying they wanted may come of this, even if it's not as cozy or to sign the band and we'd tell the band and politically correct as you might like it to be. But we'd look around and go 'well, what's the next if, two years from now, 54-40 have succumb­ NEW YORK THEATRE step?' I mean, right up to the time we signed ed to the pressures to conform and turn out with Warner Brothers, there were people from a record of slick AOR rock, or have split up $6.50 advance three or four record companies saying they under a cloud of debt, then I'll come over to wanted to sign the band." your house and cross out the exclamation $7.00 at the door The buzz generated by Laffey's groundwork mark. And we can have a grand old time chan­ Tix: Zulu, Odyssey caught the attention of Felix Chamberlain, a ting sell-out together senior A&R man at WB in L.A. Chamberlain flew up to see the band play with Shriekback. 54*40'$ first album for Warner Brothers will be After the show, he arranged to fly Osborn and released in Canada and the US on June 16. Porteous down to L.A. to talk about the band. "It was one of the first times that a record company guy had talked to me," says Os­ borne, "rather than to Keith and Allan. I mean, they speak a language that is foreign to me. Anyways, Keith and I laid all our cards on the table. I came back afterwards and said, 'well, they may not sign us, but they know who we are'." Following the meeting in L.A., Chamberlain suggested to the band that they release the tape themselves. "That sort of threw us for a loop, and we were scrambling around trying to figure that out, and then they turned around and wanted to sign the band." "I think Felix and Kevin wanted to be sure about how this would work," explains Moy. "No good A&R person is going to risk their whole reputation pushing through a band that other key people in the company won't sup­ port. They have to sell it inside the company." "If this fails two years from now," adds Keith, "they want to be able to say 'well, there were a lot of people who could've pulled the plug on this'." Having committed themselves to WB, Por­ teous and Moy were faced with negotiating a contract. "It's interesting," says Porteous, "you can tell exactly what the record company thinks of the band by reading the contract. It's all there. With 54-40, we wanted a contract that would allow the band to develop at our own pace. We didn't want to have to be A Ha and sell a million copies first album out. We got that with Warner Brothers." JUNE 1986 9 IRST LET ME JUST CONFESS that I am, first and foremost, a music fan and not an interview­ F er, so when three quarters of Plasticland came into the CITR studios &#$*ftlfl»V expecting to be asked intelligent ques­ tions, I told them there were free to talk about anything they liked. Before I get homage to, you know, all the original inspira­ not, when they played the Savoy the night to the results of our largely undirected tions that show up on the first album. before, "tripping," as someone in the audience conversation (of which the introduction G: The thing that is really frustrating for a accused them. has been irretrievably lost), here's an band like Plasticland is that psychedelia, in G: We think of the music as being exciting introduction to the band members: most people's minds, is something that only enough, and enough of a drug in itself, that Glenn Rehse: Vocals, 12-string guitar, happened in the 60s, and they have a real you should be able to catch a buzz off of it. mellotron, organ, African percussion, restricted, narrow view of what it's all about. That's what was so exciting about the whole And the fact that there were bands produc­ thing when it first hit me, because when I was sleighbells. (And music history.) ing various types of psychedelic music—the ten years old, I wasn't taking drugs...The way John Frankovic: Bass, vocals, percus­ psychedelic music scene grew, and it tangen- that the music scene hit me, I was very young, sion, bouzouki, trombone, Berimbau. ted off in different areas—you had the tangent and I saw it as being something very exciting. Dan Mullen: Guitar, backing vocals, of country bands that were being psychedelic There were no drugs involved with it for me 12-string guitar. (Unfortunately Dan like the Flying Burrito Brothers, then you have then, and, it had a lot of impact. And I'm hop­ couldn't make it to the interview.) new groups that are being inspired by them. ing that people can fill the swirl of what's go­ J: Of course overseas in the mid-seventies ing on without having to endanger their health Victor Demichei: Drums. (This is Vic­ you had all the great space rock bands...Look with probably substances that they don't even tor's third time around with Plasticland, how Tangerine Dream started—thoroughly know what chemically they are... although you probably won't see his psychedelic going into electric. D: So if psychedelia doesn't have anyting to name on either of the two albums.) D: But surely psychedelic and electronic do with drugs, what is it? music are not completely incompatible? J: A splash of creativity...almost an explosion J: They're not incompatible at all. of creativity, a colourful one. G: They are now, in my mind they are, be­ V: In fashion, you know, and in the way you Discorder: When Plasticland was putting cause they are so over-exploited with the syn­ view things and treat people— together their first LP, Colour Appreciation, thesis process. You have bands like Tangerine G: And art. It's an aesthetic feeling. It's a feel­ Lolita insisted on the band recording two Dream, of course, that started out making ing of extension and tangent. covers. sounds on their instruments emulating early J: It's not just music—it's a whole feel. John: They wanted to make sure the buy­ Pink Floyd's "Interstellar Overdrive" and then G: Yeah. (Here he goes on to make connec­ ing public would know where we were coming they just got into using machines to make the tions between other movements, particularly from. sounds instead of themselves. new country, and psychedelic.) Glenn (in typical understatement—just look D: Wow. at one of the album covers): We thought that, G: Are we mystics or what? you know, the attire of the band and the J: We make a certain psychedelic statement, packaging of the record should give people there's also a very dark psychedelic statement enough of an idea. that can be made—it's such a variety of things. We're just encompassing one small aspect of the psychedelic. The two songs Plasticland chose were G: We like to think of ourselves as the bridg­ "Magic Rocking Horse" by Pinkerton's Assorted ing point of a few different forms of psyche­ Colours (whom Glenn discovered on television delia. As you know there were a lot of music when he was eight or nine, and the band was scenes that tangented off from it—country playing on a barge floating down the Mersey), rock is one of them, another is heavy metal. and "Alexander" by Electric Banana, a name us­ Bands like Blue Cheer, MC5, The Cream, Jimi ed by the Pretty Things when they were record­ Hendrix Experience, the Pink Fairies—see, ing for a soundtrack company. that's what I was saying, there was great As well as being a rock historian of sorts, psychedelic music in the seventies... Glenn is a big Pretty Things fan. (He makes it Our prior band was one that was over­ sound more like "Pretty Thangs.") whelmed with synthesizers and massive amounts of percussion...At any rate, though, J: As a matter of fact, Glenn even keeps a it was an overwhelming experience just to great little wallet-sized picture of Pretty Things. move the equipment. Fortunately with the G: Got it with me. technology we were frequently able to turn it J: Well, actually they (Lolita) did us a favour on and walk away from the stage for awhile by saying that they wanted some psychedelic to rest. (Laughs.) That gets right down to the bands because if they hadn't restricted us to J: Well, you've got Kraftwerk who didn't even point that I was saying. For us, we looked at that then there's a whole new span of, like, the consider themselves musicians, they thought the situation, we looked at everybody's tan­ Ronettes, the Walker Brothers— of themselves as— gents— G: Right, the Wall of Sound groups that also G: Technicians. J: Genesis and Yes and how far away from had a lot of impact on us, and also the soul J: Yeah, sound engineers. rock they were getting, you know. sounds that start to come through a little bit Victor (a rare statement): So that like kind G: Yes, all those bands. more on the new album, the Wonderland of evolved into a whole new style of its own, J: They were getting real boring. album, on isolated tracks. The first one has you know, electronics. G: And we decided we had to go back to our a little bit more of a mod feel, it's got a little Here I made the mistake of linking the roots and for us, for me, that was rhythm and bit more rave-up and R & B to it—the new psychedelic movement with drug use. Plastic­ blues music from the 60s. I had an older sister sound is a little bit heavier and has a little bit land was quick to explain that they do not con­ that went to England—she came back with a more of a soul grind to it, but it still plays full done drug use of any kind, and that there wererea l rich resource of magazines...there were 10 DISCORDER a lot of new young groups, the Creation, the Smoke, the new Pink Floyd with Syd Barrett, this is like 1967. They were a new exciting Just 3 short blocks entity—we're not talking, you know, massive from the New West pigs flying over stadiums, we're talking a Lon­ SkyTrain Station don nightclub with about 50 people in it, star­ MCI 2" ting to get the whole raving scene going. J (drawing out his words): Just going crazy. 16 TRACK G: And having a good time. And that's what The latest in we want to do—we don't want to see people getting themselves into trouble or go pass out m& digital reverb in the streets, but we would like people to be and effects able to escape from the ugliness of the outer processors by world and enter (he pauses for effect) the Lexicon/Yamaha Plasticland. Phone for available times and rates

After playing "Pop! Op Drops" and "Grass­ 526-3455 land of Reeds and Things": J (talking about "Pop! Op Drops"): The song is not actually a song but it's actually an adver­ tisement for a candy that Glenn had come up with and designed. Op Art candies, very sweet. G: And forever changing flavours. You would eat this candy and get an explosion of a mil­ lion different flavours all at once, instead of just one. Anyways, about "Wonderland" (he means "Grassland of Reeds and Things")— we intentionally decided to drop the drums in favour of a floating beat, that moves in and out of beat. The string section, the percussion, and the bass and the guitar parts are all synched in and out of each other in order to create that floating effect and, you know, when you listen to it, that is the psychedelia, the movement, the shifting of the sounds and the rhythms—that is the psychedelic effect of it, and if we'd had a pronounced beat in there, the effect would have been lost. J: Well, originally I wanted to have a march­ ing beat in there, you know (demonstrates), but that would have ruined the effect com­ pletely.

/ asked the band when we could expect another album. G: Actually we have tracks that are already finished and tracks that are close to finished. We ran out of space on this album—we al­ ready have 12 songs on there, we have three others that were recorded at Breezeway, where this was done, with the exception of the "Flower Power" track, which was done at the studio where the first LP was recorded. We have tracks sitting at both places that need mixdown—whether or not these'll show up on the next album, we don't know. We have a lot of fresh material but we still are playing all those songs live. So virtually what we have is a whole album's worth of live material, half of which you can't get on record yet. J: So bring your tape players.. .And then send them (the tapes) to us—our P.O. Box is 18448. Milwaukee, Wisconsin, 53218. Does thai sound like a good advertisement?

That night Stacey (who operated for the in­ terview) and I went up to the band, after their second set at the Savoy and got our records autographed. Glenn wrote on mine what could be the Plasticland philosophy: "To Janis, it's all in the mind." —Janis McKenzie JUNE 1986 11 staff of CITR getting jobs at Expo. We offered 9 a.m. and 5 p.m., Monday through Friday. you the chance to become members of CITR for the measly price of $10. Well, we heard from some of you, but we just wanted to re­ ...And There's More mind you that the offer still stands. Yessiree, WHILE WE'RE ON the topic of volunteering... you too can become a denizen of the air­ Have we mentioned that this humble little rag waves. You'll be trained on CITR's shiny, ultra­ is also looking for contributors? If you fancy BEHIND modern broadcast equipment. You'll be given yourself a writer, photographer, cartoonist, the opportunity to ask embarassing personal artist or graphic designer (as a matter fact, if questions while interviewing prominent figures you fancy yourself period), you can become in the world of academia, music, politics and part of one of the Most Amazing Publishing business. Ventures Ever To Grace The Face Of The Are yoiy going to let this magnificent oppor­ Earth. Write scathing putdowns of the lifework tunity slip through your fingers as you cultivate of starving musicians! Take pictures of ugly unthinkable skin cancers on the beaches of rock stars! Discover the ancient secrets of DIAL Vancouver? magazine layout! For more information contact CITR at 228- For God's sake, do something... 3017 or drop by and see us in Room 233M Contact Chris Dafoe or Karen Shea at 228- WAAH! v the Student Union Building at UBC between 3017 for more information. ONCE AGAIN, cries of "tjhange come screech­ ing through the CITR Mtisic Department, like by Chris Pearson those of an ever-larger baby with musical diar­ PARTY TIME rhea. Best of luck and unhampered progress IT'S A &(\VteAK,WP to Jason Grant, who was last seen grinning souw tne /jcflwvi sheepishly as he ran up a gangplank. Mean­ ueAd-xne PiAVT. while, joining Don Chow and bearing fresh linen are Kevin Smith and Janis McKenzie. With any luck, our kid'll soon be big enough to snatch the wheel of the radio-controlled vehicle away from those stuck in the middle of the road. Look, too, for the new and im­ proved Spin List, and take a good listen be­ fore you cross the street. Buy Now...Buy Often... WE TOLD YOU last month about the entire

;^/^/^/^/v^/^/^^^^/^/^/^^'v^/^/^^'^/^^ R R I M A L D A N C E What in the world IV1 U S I C FOR 9 ALTERNATIVE - to do ' URBAN TYRES Holding an \ international | conference of j community broad­ casters during Expo may not be the best thing to do, but then HiNRG, NEW, OLD WAVE,X again, neither is Expo. AVANT-GARDE, PUNK,FUNK DANCE 40, ROCKABILLY ETC ^ We need 350 billets BUT NO PALM TREES. \ and plenty of FRI b\ SAT. 7KM. AMARC 2 volunteers. July 25-29. So if you've been wondering "What in the world to do this summer?"

J Volunteer organization meeting Give us a call. p/wee oiai I June 19, 7:00 p.m. 1 Vancouver Indian Centre Rm 107 Amarc office 1607 E. Hastings (at Commercial) I 253-0427 13465 KING GEORGE RESTRICTED SURREY 584-1044 UNDER 19 DISCORDER Vancouver Folk Music Festival

The Albion Tour Band with Cathy Lesurf * Peter Alsop Joey Ayala * Barkin' Kettle JULY Batucaje Heather Bishop & Tracy Riley 18, 19, 20 Roy Bookbinder Bob Bossin & Dennis Nichol Jericho Beach Park Greg Brown * Bob Brozman Henry Butler iformation The California Cajun Orchestra Chautaugua '86 with the Early Bird tickets are $42 and are on sale now. They must be purchasd Flying Karamazov Brothers (or your mail order postmarked) by 5 pm, Sat, June 21. After that, Michael Cooney * Clann na Gael regular advance tickets will be $47. Alexander Eppler Group Friday only tickets are $17. David Essing * Archie Fisher Saturday or Sunday only tickets are $25. Stefan Grossman *Hey, are you a group of 15 or more? If so, you can enjoy a 10% Grupo Moncada * High Country discount! Phone 879-2931 for details. Igni Tawanka * Joolz Special Ticket Prices Karelia * Katari Taiko Fixed income tickets are $35. These are available only at the Vancouver The Kentucky Warblers Folk Music Festival office, and are limited to one per person. Ladies Against Women Youth Tickets (ages 13-18) are $15 a day. Lapo Kabwit * Christine Lavin Children's Tickets (ages 3-12) are $3 a day for Saturday and Sunday. The Little Mountain Band Children accompanied by an adult are free on Friday. Lo Jai Ross McRae & Lorraine Helgerson Celso & Carlinhos Machado In Vancouver • —VTC/CBO outlets (280-4411). Metamora * Bill Morrissey Charlie Murphy & Jami Sieber Black Swan Highlife Records Vancouver Folk Musical Ride Records 1317 Commercial Drive Music Festival On to Ottawa Trek 1935-1985 2936 W. 4th Ave. 251-6964 3271 Main St. Peter Ostroushko & Tim Hennessy 734-2828 879-2931 U. Utah Phillips In Castlegar - In Victoria • Michael Pratt & Lynn McGown Zulu Records Carl's Drugs Ltd. Victoria Folklore Queen Ida & The Bon Temps 1869 W. 4th Ave. 646 18th Ave. S. Centre Zydeco Band 738-3232 365-7260 539 Pandora Ave. Chris Rawlings * Reel World 383-3412 John Renbourn The Righteous Mothers Garnet Rogers Sally Rogers & Howie Bursen Early Bird tickets @ $42 Can./$35 U.S. Shays' Rebellion Children's Saturday tickets at $3 Sheila's Brush * Sileas Fred Small Children's Sunday tickets @ $3 Jorge Strunz, Ardeshir Farah Regular Advance tickets @ $47 & Ciro Hurtado Friday tickets @ $17 Sweet Honey in the Rock Saturday tickets @ $25 Swingshift * Marcia Taylor Sunday tickets @ $25 Phil & Hilda Thomas The Total Experience Gospel Choir Subtotal Lucie Blue Tremblay Postage @ $3 order registered mail. Peter Paul Van Camp TOTAL ENCLOSED Vancouver Sath presents "Picket Line" Make cheques/money orders payable to the Vancouver Folk Music Dave Van Ronk Festival We Three Nancy White & Doug Wilde Name Chris Whiteley & Caitlin Hanford Address . Whole Loaf Theatre City Prov. . Code Cris Williamson Wives' Tales Story Tellers

3271 Main St.. Vancouver. B.C. V5V 3M6 5:00 pm DINNER MAGAZINE program, featuring all the classic players, the News, sports and weather followed occasional interview, and local music news. by GENERIC REVIEWS, INSIGHT and Hosted by the ever-suave Gavin Walker. a DAILY FEATURE. Album Features: 11:00 pm. 4:00 am Sign-Off 01 June Composers are featured tonight... full length compositions for large orchestras in the classical style by WEEKEND REGULARS John Lewis, Charles Mingus, George Russell, Jimmy Giuffre 8:00 am Sign-On and others. ON Noon BRUNCH REPORT 09 June Blue Train—One of John Coltrane's News, sports and weather. favorite albums, a Blue Note classic. 6:00 pm SAT./SUN. MAGAZINE 76 June Jazz at Massey Hall (1953). The last News, sports and weather, plus "THE recorded gathering of the founding GENERIC REVIEW, analysis of cur­ fathers of Modern Jazz. rent affairs and special features. 4:00 am Sign-Off 23 June A repeat of Benny Goodman's 1938 Carnegie Hall Jazz Concert. WEEKDAY HIGHLIGHTS 30 June Music From The Connection. One of the more famous "off-Broadway" MONDAYS plays DIAL SOUNDTRAK TUESDAYS WEEKDAY REGULARS 10:30-11:30 am Radio Improv: A self-contained hour of THE FOLK SHOW 7:30 am Sign-On spoken word sound effects and various 8:00-9:30 pm genres of music. In Stereo. 8:00 am WAKE-UP REPORT After a brief sojourn in Southern California, News, sports and weather. 1 THE BLUES SHOW the Folk Show returns to its 1 /2 hour duration 10:00 am BREAKFAST REPORT for host Steve Edge to present a personal 8:00-9:00 pm News, sports and weather followed history of folk music. Can blue men sing the whites? Join host 03 June Early folkies Woodie Guthrie, Pete by GENERIC REVIEW and INSIGHT. Eric Von Schlippen to find out. Seeger, John Fahey, The Chief­ 12:00 pm HIGH PROFILE. tains, Bob Dylan, Joan Baez, etc. 1:00 pm LUNCH REPORT THE JAZZ SHOW 10 June British folk-rock of the 60s from News, sports and weather. 9:00 pm-12:30 am Fairport Convention, Pentangle, Vancouver's longest-running prime time Jazz 3:00 pm AFTERNOON SPORTSBREAK etc. American stuff from The

ON THE BOULEVARD hair and suntanning co. SUNTANNING 10 SESSIONS 20 SESSIONS & $39 $69*°* Share Sessions with a Friend ALSO AVAILABLE 1 BED WITH SPECIAL FACE TANNER $1.00 EXTRA PER SESSION HAIR STYLING 20% Discount on any hair care services with Robert Open June First SUMMER WEAR & ACCESSORIES FOR MEN & WOMEN 5784 University Blvd. Ph. 224-1922 ll43 GRANVILLE ST. • V2 BLOCK NORTH OF DAVIE (in UBC Village) 224-9116 683-2544 Valid with presentation of this ad Expires June 30, 1986 14 DISCORDER rrt (E-X-C-E • L-L-E-TFT) xr TH E EAT E RY 1 FREE BUE6ER

THE GOOD DEAL IS your least expensive burger is free when two are ordered. This applies to beef and tofu burgers only, and isn't valid for take-out or any other EVERY FRIDAY SATURDAY & SUNDAY coupon. ALL AGES ADMITTED ALL SEATS $5.00 Enjoy your burg & BRING RICE, TOAST, have a nice day! CARDS, FLASHLIGHTS and NEWSPAPERS. Studio (zlnama J43LVL^QA^VWY_7M-M98_

Byrds, Band, Dylan (again). Engineering—7986 Crusty for the last Thursday of May for the 17 June Further developments by Fairports, 11 June Dean Victoria Fromkin: Brain, best of Vancouver punk rock, including local Richard Thompson, Boys of the Mind and Language antiquities. Lough, Steeleye Span, Rossel- 18 June Professor John Caldwell: The son/Bailey, Kate & Anna, Ry News from Halley's Comet Cooder, Stan Rogers, etc. 25 June Mr. Herbert A. Simon:. Why TOP OF THE BOPS 24 June To the present day with Spirit of Economists Disagree. 8:00-9:00 pm the West, Pogues, Billy Bragg, Screaming guitars, throbbing basses, poun­ Clannad, Dick Gaughan. JUST LIKE WOMEN ding drums, pumping pianos and howling 5:75-6 pm saxes: Top of the Bops has them all, and you LOVE PEACE AND VIOLENCE Tune in for 45 minutes of invigorating and can have them too! 11:00 pm-1:00 am stimulating interviews, news and music. For An earnest effort to resolve 7,000 years of anyone interested in women's issues or learn­ MEL BREWER PRESENTS passion, sedation and empty threats (read ing more about them. 11:00 pm-Midnight civilization), featuring live sex, tape loops, The universe is decaying. This manifests simulated drug taking and lots of normal THE AFRICAN SHOW itself as change. Things change. Tune in music. "Some things are so stupid that they 8:00-9:30 pm to hear this weekly dose of local music inter­ must be done." E. Raoul Catch the latest in African news and Music views, mike squeals, and things that go BUNKUM OBSCURA with Umerah Patrick Oukulu and Todd bump in the night^change. Langmuir. News at 8:30. Special feature 9:30-11:00 pm weekly at 9:00. Onward-Harambe. A Bit off the wall FRIDAYS A Bit on the floor THE KNIGHT AFTER A Bit under your shoes. FRIDAY MORNING MAGAZINE Midnight to 4:00 am 10:30-11:30 am PLAYLOUD Music to clobber Yuppies by—featuring radio STIRRINGS: Your host Kirby Hill has just felt shows traded with alternative stations in Late night 1:00-4:00 am the scent of Spring. Out of the hibernation of Europe and the U.S. This show will really the winter semester, this Wolf reawakens in As soon as one stops to suffer, one stops to mess up your BMW! exist. Aural surgery performed by Larry search of fresh summer territories. This Thiessen. Nothing is planned. Nothing is left. month the Wolf senses: THURSDAYS 06 June A festival of mimes, clowns and other creative personalities; Beaux WEDNESDAYS PARTY WITH ME, PUNKER! Gestes '86 is here. 3:00-5:00 pm 13 June B.C.'s film industry. Both the creative VANCOUVER INSTITUTE Same place, same time, different hosts. Join and the business side analyzed and 10:30-11:30 am rock action and Crusty Love for cool tunes expressed. 04 June Professor Michael Smith: Genetic and special guests and features. Tune into 20 June Much stuff about El Salvador, featur- JUNE 1986 15 ing Seeds for El Salvador, and THE VISITING PENGUIN SHOW various guest speakers. Late night 1:00-4:00 am m l 0f 0 27 June Arts therapy and healing. A profile of Now, finally, a reason to stay up past the BIG 3^ fa S°L ^ ^ the conference on May 8-11. SHOW on Friday nights. Yes, Andreas Kitz- 19Q6 mann and Steve Gibson dish out requests, POWER CHORD new music, interviews and selfless egotism. 3:30-5:00 pm [Bullfrog Recording School Vancouver's only true metal show, featuring • is now offering week long intensive the underground alternative to mainstream Sound & Recording metal: local demo tapes, imports and other WEEKEND HIGHLIGHTS Engineering Courses rarities, plus album give-aways. SOUL GALORE SATURDAYS Three Levels of Instruction. 8:00-9:30 pm EARLY MUSIC SHOW Trade School Certified All the tearjerkers, all the hipshakers. From 7:30-10:00 am Tax deductible & very affordable R&B to funk and especially soul. Join Fiona MacKay and Anne Devine and wear your Have breakfast to music from the Medieval, Renaissance and Baroque periods, played on Enroll Nowl Space is limitedl soul shoes. 06 June Specialty Records—featuring Little strange and exotic instruments. With host Richard, Lloyd Price, Clifton Ken Jackson. Chenier, and the Soul Stirrers with 07 June Anonymus, a medieval ensemble Sam Cooke, to name a few. from Quebec are featured. 14 June Rameau 13 June Mr. Superbad himself, the godfather 21 June Orlando Gibbons of Soul—James Brown, Part I, of 28 June Spotlight on Christopher course. 20 June Women Soul Singers of the 70s, in­ Hogwood. cluding selections from Aretha NEOFILE Franklin, Roberta Flack, Patti Noon-4:00 pm Ltarn to record the practical way Labelle, Dionne Warwick, etc. A rundown of the newest, most exciting and 27 June An All-Requests show-—your chance insipid releases raked in during the week at to hear all your soul favorites. CITR. Join music directors and charismalep- tic hosts Don Chow and Kevin Smith for an BULLFROG THE BIG SHOW eclectic musical pig-out, with occasional in­ RECORDING STUDIOS 9:30 pm-midnight terviews, live mixes, and peripheral relevance. 2475 DUNBAR STREET Why pay money to get into a nightclub on a VANCOUVER, B.C. Friday night? If Big InternationAI can't get PROPAGANDA! . (604) 734-4617 you dancing, no-one can. 6:30-9:00 pm An eclectic mix of interviews, reviews, music, ' KlHfrTS 4>i :? m i

( / - ELECTRO - POP ? PUNK, ROCKABILLY, £_^ ^ / -MOTOWN, 50s & 60s ROCKriROtxV /

^y" j~~ TRASH & THBASH5€IRL GROUPS>| / \ J? - BRITISH INVASION, PSYCHFOEUC •• W 1 -OHE HIT WONDERS! # A : % 1 _„,.„„ X \r*"~ - - -DANCE ~ «~ A i / \ \ { -we §0t em aft!!! / **** Immmmm* ) 685-3288 §275 SEYMOHH,, I if ( hut. loggers welcome)

16 DISCORDER humour, High Profiles, and other features with Mike Johal. DESSERT PYJAMA PARTY 9:00 pm-1:00 am & COFFEE SPECIAL $2.25 Your hosts Mike Mines and Robin Razzell present everything from ambient music for Evenings from 6:00 p.m. snoozing to upbeat tunes for popcorn and — cappuccino or cafe latte pillow fights. with cheesecake TUNES 'R' US Late night 1:00-4:00 am Music, Music, Music, Handyman Bob, Music, Mon. -Thurs 8 am-10:30 pm Music, My Favorite Album, Music, Music, / Friday 8 am-Midnight Experimental To Classical, Teddy Kelowna Saturday 11 am-Midnight presents, and yes more music. Sunday noon-7 pm SUNDAYS 820 HOWE STREET 683-5122 MUSIC OF OUR TIME 8:00 am-Noon A sampling of the vibrant, electric and exhil­ arating sound often erroneously filed under the misnomer of "classical" (i.e. pedantic) music. 01, 08, 15 June Works by female com­ DUTHIE BOOKS posers, and an attempt to discover why they are so rare, even in the 20th Century. Despite the thousands of visitors Marguerite Duras topped the best­ 22 June George Crumb Ancient Voices of and the crowds at the fair, a strange seller lists in France almost as soon as Children 29 June Ravel Daphis et Chloe peace has settled over the downtown hd last book, The Lover, was releas­ core. Most of the traffic, both auto­ ed. When that novel was translated and ROCKERS SHOW mobile and pedestrian, has been drawn published in English last year it Noon-3:00 pm to the Expo site. It's a good time to brought Duras a broad readership in The best in Roots, Rock, Reggae, DJ and slide downtown to check the late spring North America that she never had Dub. With your hosts George Family Man arrivals. before despite her emminence among Barrett, Collin Hepburn and Bruce James. One of these is the mass market French writers. Consequently some of paperback edition of this year's just her older novels are being reissued. The MICHAEL WILLMORE'S ROCK TALK announced Edgar winner (the prize first of those to appear is one as haun­ 3:00-6:00 pm awarded by the Mystery Writers of ting, beautiful, and erotic as The Authentic Rock 'N' Roll from the 1950s and America for best crime novel of the Lover—The Ravishing Of Lol -Stein, 1960s featuring many collectors' items and year) The Suspect by Vancouver writer published in a beautiful trade paper­ rock rarities you'd never hear anywhere else. L.R. Wright. Ms. Wright has publish­ back edition in the Pantheon Modern SUNDAY NIGHT LIVE ed three novels previously, but this is Writers series. Lol Stein is a heart­ 8:00-9:00 pm her first foray into the genre of mystery broken young woman who returns to Testing 1...2...3 novels. She may have found her calling. the town where her tragedy took place Testing 1...2...3 The Suspect is set on the Sunshine and is slowly drawn into the position Ladies and gentlemen, Sunday Night Live coast, follows most of the traditions of first of the voyeur and then...A memoir proudly presents... its canon, but features as one of the by Duras has also been published this 01 June Lyle Mays year, and a very, very extraordinary 08 June R.E.M. lead characters eighty year old George 75 June TBA Wilcox. It is notable for its crisp style, book it is too. It was first published in 22 June Miles Davis elegant plotting, and unusual ending. France last year, and now in hardcover 29 June NoMeansNo One of the funniest novels published in English this spring. It is entitled The in recent years is Money by Martin War, and tells the story of Duras' war FAST FORWARD Amis, now issued in a mass market edi­ years in Paris as a member of the 9:00 pm-1:00 am tion by Penquin. It's a different kind French resistance. It is written in in­ Mark Mushet searches the world over for ex­ of transatlantic novel set in London credibly clear prose that has a distur­ perimental, minimalist, avant-garde, elec­ and New York, and written in a wild bing ethereal quality. It is superbly tronic, and other non-mainstream sounds. rhythmic prose that rings with all the translated by the translator of The 01 June The usual parade of happy hits. recent buzz words, cliches and brand Lover, Barbara Bray. The reason The 08 June An evening of Sonarchy. Sergio names, and yet remains extraordinary War was not published until last year Barroso and Paul Dolden live from throughout. The main character is an is explained by Duras in a short preface the Western Front May 15th. unsavory character who tells his story from which I quote the first two 75 June New releases and news from the sentences: "I found this diary in a cou­ "Fringe," the other side of televi­ very frankly. One should be warned; it sion, coming soon to Cable 10. is the story of a man obsessed with ple of exercise books in the blue cup­ 22 June Another parade of hits and a pornography, booze, obscenity, and of boards a Neauphle-le-Chateau. I have special guest. course, money. no recollection of having written it!' 29 June The best of the "Various Artists" live radio tape collages on Fast For­ ward. 919 Robson Street Arbutus Village Square 4444 W. 10th Ave. LIFE AFTER BED 687-4496 738-1833 224-7012 7 am-4 am The return of the nightmare from the people 919 ROBSON ST. NOW OPEN 9-9 MON. - FRI. you're parents warned you about. Ugly radio has returned. Warn your avocados. JUNE 1986 17 spy\LiS f 1 pm K>2 Coble IOO

TOP AIRPLAY ALBUMS • CAMPER VAN BEETHOVEN II & III ROUGH TRADE (US) MINISTRY Twitch SIRE/WEA HUSKER DU Candy Apple Grey WB/WEA SIOUXSIE & THE BANSHEES Tinderbox POLYGRAM DAVID THOMAS Monster Walks the Winter Lake TWINTONE VIOLENT FEMMES The Blind Leading the Naked SLASH/WEA LAURIE ANDERSON Home of the Brave WB/WEA CURLEW North America MOERS MUSIC VARIOUS ARTISTS Audio Visual SWEATBOX EDWARD KA-SPEL Eyes, China Doll PLAY IT AGAIN KONSTRUKTIVITS Glennascaul STERILE THE CRAMPS A Date With Elvis BIG BEAT CHRIS HOUSTON Hate Filled Man CAUSASIAN DEATH OF SAMANTHA Strungout on Jargon HOMESTEAD THE COSTELLO SHOW King of America CBS PHALANX Got Something Good For You MOERS MUSIC ROBERT WYATT Old Rottonhat ROUGH TRADE/WEA THE GO-BETWEENS Liberty Belle POLYGRAM VARIOUS ARTISTS Welcome to Dreamland CELLULOID PTOSE Ingobles Limaces AYAA SLOW Against the Glass ZULU L.L. COOL J Radio DEF JAM/CBS SWANS Greed K.422 THE PANDORAS Stop Pretending RHINO COLOURBOX Colourbox 4AD/POLYGRAM TOP AIRPLAY SINGLES PETER GABRIEL Sledgehammer WEA MACATTACK The Art of Drums BAAD ART OF NOISE Peter Gunn MCA THE WATER WALK Far Fields/Seven Statues "DEMO** KEVIN ZED More/Tea Type BEAT ZAMBONI DRIVERS Skating Ghost SIGNPOST SONIC YOUTH Flower/Halloween HOMESTEAD THE BEASTIE BOYS She's On It/Slow and Low DEF JAM HUSKER DU Don't Want To Know If... WEA THE JESUS AND MARY CHAIN Some Candy Talking NME 7" THE BOTTOM LINE Blood in This Land **DEMO** STUBBORN BLOOD Tightrope/Love Fix **DEMO** THE POGUES Poguetry In Motion EP STIFF/MCA SHADOWY MEN ON A SHADOWY PLANET Our Weapons Are Useless SHADOWY SHOP ASSISTANTS Safety Net 53RD & 3RD regarded as a band to chew gum by, lues, is still a 54-40 might give the impression that they have radi­ charming anachronism, and, when he puts 54-40 cally altered their sound. I don't want to mis­ his mind to it, is still a deft and tasteful (WEA) lead. Neil Osborne's voice retains the reso­ guitarist. nant growl that has always characterized the As Hank Williams Jr. remarks on one of Red INGING IN THE SHOWER OR STROL- taut, coiled spring tension of 54-40. It's just to Blue's opening tracks, Leon sure sounds S ling down the street, oblivious to your sur­ that now there is so much more. like he's got a case of the miseries. He's lost roundings, a certain song stuck in your head, The warmer, fuller aura of this album is at love more times than most people have hot sounding over and over. It happens to every­ evidence of superior production and the in­ meals, nobody wants him and he's discovered body and because it does this phenomenon creasing maturity of the band's songwriting the shock of "Reaching Out For Someone has to be regarded as pop music's most basic talent. Simpler song structures are more ful­ yardstick of success. ly embellished with guitar and the previously To be perfectly honest, I never expected to under-utilized Phil Comparelli plays a promi­ find myself humming 54-40 songs while wash­ nent role as the band appears to have learn­ ing the dishes, but it happened. I was staring ed how to use two voices effectively. The pro­ at a sinkful of greasy water and singing duction is smooth, crisp, uncluttered and clear, "(Everytime I Look at You) I Go Blind." Heavy and commercial radio programmers, who are irony, but never was housework so enjoyable. always whining about the inferior production Therein lies the major difference between quality of local releases, will have to come up with a different excuse for not playing this record. If nothing else, the new album sounds more "rawk" than anything the band has done before. "Baby Ran" has hit written all over it And Not Finding Anyone There." But if Leon and the aforementioned "1 Go Blind" drives really has the blues it's hard to tell. Redbone's me to pop distraction. There is no doubt in my reworking of these Pre-WWII gems is as sharp mind that this album can only serve to win as his trademark white suit, and as delight­ 54-40 a bunch of new fans and enhance their fully camp as a flip of the Panama hat. No one reputation outside Vancouver. The question is will find Leon lacking in character; some may how their longtime local fans will react to it? find him lacking soul. I anticipate a few sellout accusations but I Redbone's approach to his music, most of can't fathom any possible justification for it drawn from the popular music of the 20's them. If the band are to be congratulated for and 30's, is actually refreshing when one con­ anything it is that they have managed to make siders the grim earnestness that prevailed in, a record that can stand beside anything else say, the rockabilly revival. Leon is a stubborn in North American, a record that reflects a anachronism, but he sees the humour otthe situation enough not to bore us in his pursuit >this album and 54-40's previous work. Most steadily growing and ever-widening appeal yet betrays nary a hint of contrivance. That 54-40 of authenticity. He's willing to camp it up when of the earlier stuff is typified by a cold and the need arises. often terminally obscure introspection that now has major label support is merely just. makes for a rather sober and solitary listen­ The foot is in the door. Now is the time to kick Camp or no camp, Redbone is a skilled ing experience. There's nothing wrong with it wide open. guitarist. Usually content to provide rhythmic that except that I find myself getting restless —Steve Robertson support while the clarinets and trumpets pro­ and fidgety if I listen to Selection ot even Set Leon Redbone vide brightening accents to the songs, Red­ The Fire all the way through. bone is still capable of some string-popping Red To Blue virtuosity. On "Whose Honey Are You?" he Not so with this album. I've listened to it unleashes a bouncy, playful, almost hilarious August Records (US) countless times and I still think it's a wonder­ solo that gives the song a bouyant charm. And EON'S BACK WITH HIS FIRST ALBUM ful record. Why? Because the songs are just if his slide work on "Diamonds" comes dan- so damn catchy. Since 54-40 has never been L since 1980 and really, nothing much has

BLACK SWAN 2936 W. 4th 734-2828 NEW & USED/CONCERT TIX RECORDS ABDULLAH IBRAHIM BOYS OF THE LOUGH * BLACKHAWK TITLES IN STOCK Water From an Ancient Well Welcoming Paddy Holme • 60s RE-ISSUES VARIOUS WOMEN DUB POETS PHIL WOODS QUINTET • NEW FOLK & BLUES TITLES Heaven Women Talk SHEILA JORDAN SOUNDTRACKS BACK IN STOCK THE PRISONER SOUNDTRACK The Crossing Amarcord/Diva/Liquid Sky IRMA THOMAS (New!) BILLIE HOLIDAY The New Rules At Monterrey 1958 AFFINITY JAZZ TITLES BENNIE WALLACE GEORGE ST AVIS w7 ANGER, MARSHALL Special Price Twilight Time & DEGRASSI Morning Mood 5.98 Single Import LP gerously close to palm tree kitsch, well, no one's taking this too seriously anyways. Red To Blue isn't earth-shaking stuff; there is an element of novelty in Redbone's ap­ proach, but it makes for fine diverting listen­ ing and wonderful accompaniment to the drinking of bathtub gin martinis. And there are times when I can't think of a higher compli­ ment. -CD Wendy O Williams Kommander Of Kaos Zebra EMEMBER THE GIRL IN ELEMENTARY R school who used to beat up the boys in the younger grades? Ever wonder what she's doing now? I think I know. songs, which makes it sound like she record­ After starring in porn flicks and making her us to think about his little gal, and tends to re-enforce the image created by the cover. ed the whole thing 30 feet away from the mark in the "punk" scene by chain-sawing microphone. guitars in half and blowing up Cadillacs, she's Actually playing the record is a letdown, even with low expectations. The songs adhere The only use for this album, aside from moved onward and become the Kommander to the early 70's Black Sabbath mold, with the playing it loudly when the landlord comes to of Kaos, the female equivalent of Motorhead's odd Eddie Van Halen guitar solo stuck in. It's collect the rent, would be as a warning for Lemmy Kilmister. At least that's what her as though the metal 'revival' of the past few young ladies who insist on bullying the boys. "Manager/producer/Songwriter" Rod "Sven- years never happened. In short, the songs are "See what happens to girls who don't behave, gali" Swenson would have us believe. uninspired generic rubbish...with the excep­ dear?" The cover of the album leaves little doubt tion of Ms. Williams' spoken word intro to "Ain't —PC what the listener is about to hear. That is, any None o' Your Business" where she speculates record with the singer wearing her hair in a what makes the'Straights' walk so funny (and Ryuichi Sakomoto pony tail, bondage gear strapped to her sur­ here the only attraction is the discovery of her gically enhanced bod, while crashing a Cadil­ ability to curse). Illustrated Musical Encyclopedia lac (some things never change) through a Wendy's voice isn't all that one would wish Virgin brick wall, can be counted on to remain within S THERE SUCH A THING AS EXPERI- certain parameters. A quick glance at the song to build a star around either. The best thing that could be said about it is that it makes Joe mental pop? If there is, Ryuichi Sakomoto's titles, "Pedal to the Metal," "Goin' Wild," "Par­ I Strummer sound like Mel Torme. Realizing latest solo work could be regarded as an ex­ ty," "Jailbait" (yes, the Motorhead song), "Bad this, Rod's mixed her vocals way down in the ample; it toys with technology, and hints at Girl," etc., etc., shows what good ol' Rod wants

NOW AVAILABLE ON UNDERGROWTH RECORDS

FORBIDDEN BEAT ALSO AVAILABLE U.G. 1305 DEATH SENTENCE "NOT A PRETTY SIGHT" U.G. 1304 SHANGHAI DOG "THIS EVOLUTION" U.G. 1303 SNAKE FINGER "/ GAVE MYSELF TO YOU" U.G. 1302 NO MEANS NO "YOU KILL ME" U.G. 1301 A.K.O.B. "EXPLOSION BLUES" UNDER GROWTH 86 COMPILATION C-90 SECURITY COMPILATION W/BIOS & CARDS C-90

456 SEYMOUSE\ R ST. VANCOUVER, B.C., CANADA, V6B 3H1 "DRIVING YOU INSANE'aa i3oe TEL. (604) 685-8841

AVAILABLE AT ALL CONCERNED RECORD OUTLETS

20 DISCORDER East-West synthesis; at its best, however, the grandly titled Illustrated Musical Encyclopedia is merely a demonstration of Sakomoto's abili­ The Universal ty to create pleasing, well-crafted—and harm­ less—pop songs. Institute of The album starts weakly with "Field Work." EK Thomas Dolby provided vocals, although the r€ Recording Arts seemingly pointless lyrics are Sakomoto's. Complete 24 track facility Musically, nothing new is done here; Sako- moto employs a Fairlight, but all that comes Excellent Rates out is the same sound we heard on 1984's Art Specialists In Audio Production Training. of Noise and, before that, on Slava Tsuker- man's intense Liquid Sky soundtrack. Designed environment. Fortunately, the rest of side one is much bet­ Complete AMS Digital Reverb System ter. The three remaining tracks, all instrumen­ tal, are excellent daydream material, ideal for LIMITED ENROLLMENT background music for your next tea party. Side two starts off on a formula pop note, 2190 West 12th Avenue Vancouver 734-2922 complete with breathy vocals, but then moves on to much more interesting material, most of it instrumental. Fans of Sakomoto's earlier album, Left Handed Dream, might be disap­ pointed by the lack of dance tunes, but on the whole, the instrumental work on Encyclopedia makes for a more varied album. If you are looking for an insight into Japan or Japanese culture, go see Ran or some­ thing; don't buy Ryuichi Sakomoto albums. His songs, as a rule, deal with Western themes, played in Western modes. If, on the other hand, you'd like something conducive to slipping your brain into neutral, and not hav­ ing to think about Expo, nuclear clouds or Bill Bennett for an hour or so, this record may be just what you need. —Terry Walker Laurie Anderson Home of the Brave (Soundtrack) WEA OT TOO LONG AGO, I FLIPPED ON N Saturday Night Live to see guest artist Laurie Anderson. Figuring this appearance must mean a new album, I was eager to see what she was up to, but her first set was so disappointing I switched channels. There is something going wrong here. In the past a perfect marriage existed between the lyrics and music in Ms. Anderson's composi­ tions. Detached intellectualism existed in a rarified atomsphere ("Let x = x"); more inciting sentiments were given jarring accompaniment ("Example #22"). The two tendencies evened out in Mr. Heartbreak, one of the most suc­ cessful "theme" albums. But the lyrics on this record are just not in the same class. They range from the undecipherable ("my guess is that a pineapple is more macho than a knife") to the banal ("every time I see an iceberg, it reminds me of you"). Where's the old Ander­ son wit? Maybe her lack of direction is a concern to her as well. She continues to recycle old mat­ erial. Home of the Brave contains a new ver­ sion of "Language is a Virus," and there are quotes from "Mr. Heartbreak." In spite of all this, the record is not a total loss. "Late Show" is great, and "White Lily" has the same pon­ dering quality of Big Science, but would I lay down cold hard cash for it? No. The night I changed channels on her, I wound up watch­ ing The Mummy with Boris Karloff. I got the better of the deal. —Ken Jackson JUNE 1986 21 ARMCHAIR EYE

Where Bill Mullan views the Third World War in prime time.

SOUND of a phone ringing. It rings three times,MAGGIE' S pleasure has grown more intense. HE PRECEDING ARE NOT my words. then is picked up. SECRETARY OF WAR: We can make this war They're a slightly edited transcript of so big. The more people we kill in this war, T the conversation that takes place over MAGGIE THATCHER: Prime Minister's office. the more the economy will prosper. We can the music in Dead Kennedy's "Kinky Sex Prime Minister speaking. get rid of practically everybody in your dole Makes the World Go Round" (from the War- SECRETARY OF WAR: Greetings, this is the queues if we plan this right, and take every gasm compilation album, released in 1983). Secretary of War at the State Department of loafer on welfare right off our computer rolls. I happened to hear it again tor the first time the United States. We have a problem. The Don't worry about those anti-war demonstra­ in at least a year just two nights after the companies want something done about this tors. Just pump up your heroin supply. It's Arriericans bombed Libya. The TV was on, too sluggish world economic situation. Profits easy. We got our college kids so interested in (with the sound off), to an all-night news show. have been running a little thin lately, and we beer, they don't even care that we've started The first really juicy footage was just begin­ need to stimulate some growth. Now, we know manufacturing germ bombs again. ning to roll in, and there was still a lot of con­ there's an alarmingly high number of young MAGGIE is quite shamefully out of control now.fusio n as to what was really going on. people roaming around in your country with SECRETARY: Look, war is money. The arms And it struck me suddenly that it had final­ nothing better to do than stir up trouble for the manufacturers tell me that unless we get our ly begun: The Third World War. Not the war police and damage private property. It doesn't bomb factories back to full production, the itself necessarily (you could argue that started look like they'll ever get a job. We think it's time whole economy is going to collapse. The in Korea 25 years ago); but the TV series. A we did something constructive with these peo­ Soviets are in the same boat. We all agree that prime serial along the lines of Hill Street Blues ple. We've got millions of them here, too. the time has come for the big one. So what crossed with The Vietnam War crossed with They're crawling all over. The companies sug­ do you say? Monday Night Football crossed with The Six gest we all sit down, have a serious get- MAGGIE: (Takes a moment to contain herself). O'Clock News; with a cast composed entirely together and start another war. I think it's marvellous. of real people (including an ex-actor or two); MAGGIE begins to groan in orgasmic SECRETARY OF WAR: That's excellent, we a virtually unlimited special effects budget; pleasure. knew you'd agree. The companies will be very and a plot so complex and compelling that it SECRETARY OF WAR: The President? He pleased. demands the combined resources of all the loves the idea. All those missiles streaming world's media to adequately cover it. overhead to and fro. NajDalm. People running Brought to you by Coke, General Motors, down the road, skin on fire. The Kremlin? IT&T, Exxon, et cetera. Featuring pathos, sed­ They've been itching for the real thing for uction, satire, brutal sex, slapstick comedy, years. Hell, Afghanistan's no fun. So, what do melodrama, adventure, romance, and of you say? We don't even have to win this war. course, ultra-violence. (No nudity! This is We just want to cut down on some of this television.) excess population. So just start up a draft and call up as many of those young people as you Let's not talk about how it might end. can get your hands on. We'll do the same. —Bill Mullan

22 DISCORDER special events JUNE 23rd. - 28th. ^B THE DUMAURIER * JAZZ AND BLUES FESTIVAL * • 23rd. TIM BERNE FROM N.Y. 24 - 25 KAREN YOUNG AND * * * + MICHEL DONATO FROM MONTREAL 26 - 28 COLIN JAMES

THE SAVOY NIGHTCLUB 6 Powell St., Gastown, Vancouver, 687-0418 Fantastic Akai Portable Component System Slim-Line, Auto-Reverse, High Speed Dubbing The Sound Will Take Your Breath Away! w/Built-ln Graphic Equalizer! & Fantastic Sound! This One Has It All!

HBIEEIll li1!!!! - 1M*

AKAI # SANYO AIWA PJ 15 Features tree angle 4 wr m~ 2W

AM/FM Auto-Reverse Dolby New Low Price On AM/FM Auto- New Look Price! Fantastic 'Add- Auto Reverse Cassette Player Fantastic 6-Speaker AM/FM / Cassette Recorder! Reverse Cassette Player w/Dolby On' Personal Portable Speakers w/Charger & Batteries Included! Cassette Recorder [ r

LuJ CITIZEN Ai. JTR 1460 Features 6 sc 238' $SANYO Qgee m 70 66 t>9 06 10" AC/DC Colour IV. Fabulous Sound From This AM/FM High Speed Dubbing Cassette New Auto-Reverse Cassette Player Perfect For Tbe Camper, R.V. or Boat Big Sound 6-Speaker Blaster w/6 Speakers & Built-in 5 Band Equalizer w/Remote Control & Built-in Equalizer