1995-96_v18,n08_Arts_Imprint by Editor Imprint

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Thev’s Jon Spencer

IBlues Explosion

The Phoenix,

Thursday, by Scott Imprint

CD, this drummer quickly made everybody forget that the CD even existed. Altogether, the entire outfit actually reminded me, in one aspect, of a good Frank Zappa record. Apparently, no matter how bizarre, or expetimental sounding a Zappa piece was, everything he ever recorded was highly plotted. Even on what sounded like massive jam sessions, Zappa would tabulate the entire score, and make his musicians play, note for note, what sounded like a complete melting pot of sound. This Jon Spencer show gave me that feeling. Although it often came off as a highspeed blues jam, the incredible precision with which portions of the show were exercised, showed that the entire thing had been carefully mapped out, and had eventually been followed to the “T”. It was simply incredible to behold, and this doesn’t even take into account Spencer’s use of his Theramin. The Theramin is an “instrument,” or rather noise machine, that many might be more familiar with through its sound effects in Sci-Fi films like Forbidden PEanet and Led zeppelin guitarist Jimmy Page’s use of it in the film The Song Remains the Same. Waving his hands like a wild Shamen around the Theramin’s antenna, Spencer pulled an incredible array of howls out of an instrument few would ever think of applying to “the Blues.” Ultimately, the whole crowd ate it up, J’m glad I went, and even though I can’iexactly put my finger on al1 the reasons why, I Iook forward to seeing the Blues Explosion again.

Toronto

August

24th

Reid staff

ntil Thursday night, my experience with the Jon Spencer B1ues Explosion had been limited to their releaseExperimental Mixes. This 40+ minute CD contains various Spencer reworkings involving many outside musicians and producers, including the production talents of Moby, Beck, and Mike D. of the Beastie Boys. It’s perhaps no coincidence for the latter; the Blues Explosion have just come off a lengthy tour supporting the Beasties, and the band has been linked by several critics. What the white boy Bcasties did to rap, so have the white boy BIues Explosion done for “the Blues,” a genre of popular music that’s more often of late been a tired, beaten horse. The new re-release CD isn’t called “Experimental” by accident either, as it basically covers a vast amount of musical turfranging from blues to rock to rap, all flowing over hip-hop beats. Generally speaking, this kind of music is usually not my thing, but after hearing a few tracks played at Phil’s, my curiosity was piqued enough to check out the CD. However, it was hardly a worthy preparation for the kind of sounds that hit my cars on Thursday night. Imagine Jerry Lee Lewis or Nick Cave playing a guitar, accompanied by another guitarist, and cap it all off with the drummer from

The

three

Stars:

Russell

Simins

Led Zeppelin, and you can kind of form an idea of what this show was all about. One thing that I was not prepared for is Spencer’s radical vocal stylings. The “Experimental” CD is, for all intents and purposes, vocalbless. However, within seconds of hitting the stage, Spencer began bellowing vocals with an unsettling urgency. Gradually, the massive influence of Jerry Lee Lewis on his vocal style became more than obvious. However, the music was more directly related to...l’m not even sure what to put in here. Honestly, the Blues Explosions music is retro,

(lower

leff),

Spencer

@weg~~.~prd)

while still sounding entirely fresh. Although rooted in the blues, much of the music is played at extremely high speeds, a trait rarely found the average blues piece. Spencer’s vocals usually spoke of some kind of misery or heartache, but somehow the entire vibe was more uplifting and, actually, danceable than one what expect from a band know as the “Blues” Explosion. The instrumentation itself was enough to put any audience member in awe. Spencer and fellow guitarist Judah Bauer put on a dazzling display of musicianship, whipping the Phoenix crowd into a frenzy within sec-

A Herculean Gene W/MI-S. Torrance Lee ‘s Palace, Toronto Thursday July 27th byKiyanAzarbar sptcialtoImprint “I think the inabiliw to describe music without comparison is evidence cf the decrepit state of pq jozrmalism. ” (Martin Russiter) ene boasts an impressive live reputation. Many ofthe songs, including two singles, were written on the road, and the band are no stranger to touring. The Toronto show was part of their first North American tour and the band later stated that it was by far their best North American perforrnante to date, A few hundred Anglophiles packed themselves into Lee’s Palace, anxiously awaiting Gene’s entrance while bopping heads to supporting act Mrs.Torrance (currently on tour with Pest 5000 - check ynur local listings).The hard-core

and...

The

Theramin!!

onds of taking the stage. However, in this reviewer’s opinion, the night truly belonged to drummer Russell Sirnins. Simins is quite simply the greatest drummer I have ever had the honour of seeing perform live. The break-neck speed with which he cranked out the rhythm simply had to be seen to be believed. He actually went the entire show without performing a solo, yet every couple of seconds we were treated to some kind of sound burst that showed off his immense talent. Although the live performance lacked the Experimental hip-hop beats of the

Effort

fans had apparently lined up early and purchased the entire stock of tour T-shirts, much to my dismay, and had exhausted the free supply of promotional CD’s three hours before Gene took the stage, displaying a frightening sense of devotion. The Smiths, Echobelly, Blur, Suede, Oasis, Pulp, and assorted British T-shirts andaccessories abounded, as did Morrissey haircuts and NHS spectacles. The intro song preceding Gene’s appearance contained the humorous pun-based chorus: “Jean.... come into my heart, Jean....” Amid the laughter and snickering following the intro, the

on stage; Rossiter’s and Mason’s stage presences demonstrated an almost rehearsed perfection. Rossiter and bassist Kevin Miles pleasantly interacted with each other by attempting to limbo under each other’s instruments (bass or microphone) Matt James, the drummer, whacked away at the drums in the background. Kevin Miles smirked and snickered at every saucy live lyric twist coming from Rossiter’s lips and on many occasions seemed on the verge of breaking out in hysterical laughter. Steve Mason was a veritable fountain of winks, ear-to-ear grins, smiles, playful swaggering guitarmannerisms, and

at making me feel happy.“), often playfully (“This is our last song,“accompanied by a raised eyebrow and a hand to his ear begging for screams of devotion). During “Left-Handed,” Gene’s answer to an anthem of bisexuality, a lovestruck bloke leaped onto the stage for a prolonged hug while attempting to pull Rossiter’s shirt out of his pants and steal a button from his cuff. He was promptly removed by security, but during this brief interlude Rossiter continued to sing despite being twirled around by his crazed fan. The set list contained most of their released material to date and

performed. At the end of the third encore Rossiter thanked the audience profusely and casually withdrew backstage as the other members followed, remembering to give the crowd many waves andthumbsups. The lights came on and the crowd gradually filed out into the streets with stupid grins on their faces and a shared sense of euphoria. These sensitive British lads are hardly deserving of the accusatory comparisons and general fmgerpointing they have received. This show dripped with intimacy and the general sense that Gene really cares about its audience. Such per-

door

general

an extra song which

formances

opened

and the band casually

took theirpositionsas the fans yelled and whistled in approval. No time was spared and they launched into an energetic live rendition of “Haunted By You,” as Rossiter implored the crowd todisplay some kinetic enthusiasm. Gene’s good live reputation is justified. They seemed to be eminently comfortable with each other

gond

cheer.

Despite Rossiter’s obvious efforts to avoid Morrissey similarities, his affectations and poses hearkened back to the early days of the Smiths. His relationship with th’e audience was very intimate, with direct eye contact and frequent offerings of his hand and arm. He spoke frequently to the audience (“Thank you. You’re all very good

was completed

on tour, called “Speak to me, someone.” Six exclusively album tracks were played, as well as their five singles andflive oftheir ten B-sides. They played an encore oftwo songs, another of one song, and a final two-song encore ending with their first single, “For the Dead,” despite several fans imploring that “Don’t Let Me Down,“a Beatles cover, be

are not eacy t0 come

and their architects priate respect. “Gene

deserve appro-

are a breath of fresh air. matter if they sink without trace or fail to deliver the goods in the future. For now, this’11 do nicely, ta very much.” (Select Magazine, “For the Dead” review]

It doesn’t

ARTS

IMPRINT, Friday, September I, 1995

Bjoring, This is Not! Bjork w/The Aphex Twin The Warehouse, Toronto Monday, August 7th

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he first thing that struck you about the show was the crowd. Speaking as someone who’s used to going to concerts and being six or seven years older than the average person there, it was odd to see that the all-ages aspect of this Warehouse show was minimal. The onlyproblem with this was the tall, twenty-something generation are signifigantly taller than their kid brothers and sisters, so it was hard to get a good view of the show. Then there was the stage. Strange, twisted configurations of pipes surrounded the keyboards and drum riser, and to either side of the stage were what looked like TV towers, complete with satellite dishes. Add some fog and an array of lights, C’What? and it was the perfect landscape for everyone’s favourite Icelandic princess to appear. With Post and Debut being ~0 very different records, the direction this show would take was anyone’s guess. For sure the new album is a more austere, dark affair than its predecessor ever was. In addition, the reviews have been mixed, and nowhere near as ecstatic as the praise laden on D&t. For my part I think Post, though a strong album in many places, has a tendency toward lifelessness, a record put out because Bjork has looked up and said “Gee, I guess I have a career as a solo artist now,

by Derek Weiler special to Imprint

Sun. I-5

100 w I dffierent I .. dpphcatms in stoch!

The

applause?

For me?

Ooo!”

“Possibly Maybe” didn’t help matters either. But then something happened. Her extremely eclectic band (wizened drummer over 50, the only Asian accordian player in existance) swung into “Hyperballad,” one of the most Debut-fike songs on Post, and it all started to click. She bounced about, skipped, picked imaginary flowers from imaginary gardens, and the crowd responded more roaringly than before. Following this up with “Crying,” the crowd got into it even-more, and Bjork came alive in the way that only she can.

Eventually the . one . sees thatroute pop-maven pixie persona could have been taken by Bjork and she would be selling scads of albums, but instead she’s trying different things, attempting to grow as an artist. The show worked when it took the ecleticism of the second album and fused it with the pop sensibility of the first, a methodolgy that would have benefited Post as it made this show great. For the first few songs of the set this didn’t work, but given time the show just got better and better. “Violently started very Happy” slowly, and eventually built to a thumping terminus that, like the slower “Venus As A Boy” and the church hymnal style (I’m completely serious!) “Big Time Sensuality,” showed some wonderful new spins on old material. “It’s All So Quiet” even managed to make me smile, though I don’t like it on album, contrary to the rest of the crowd that saw it as one of a few show stoppers. “Thank You!” Bjork breathed after every song, and with her voice (which also got better and better as the show went on) even that sounded fantastic. Richard James aka The Aphex Twin opened, and put on an entertaining set of textural techno beats, playing both songs in his catalogue and freestyle arrangements. The danceability of this music seemed almost completely lost on the crowd, however, with most just standing around in the sweltering heat, looking stupid. Mind you, the strange absence of any sort of light show for the performance made many question whether this was just a DJ, or an actual performance. But 1 could see Richard up there, bouncing to the music...1 think.

Add Water,MakesIts Own Sauce G, Love and Special Sauce The Upera House, Toronto Wednesday, August 2nd

Uni 1OA WATERLOO 746~SOFT

time to put out some product.” And this modus operendi is in stark contrast to the breathy spontaneity of the sublime Debut. Certainly the show started out Post-style. After warming up with two songs by her accordianist (!) the lady with that voice took the stage and, following some a cappella vocal swings, launched into easily her worst single “Army of Me.” From there tracks like “Modem Things” and “Human Behavior” betrayed a sense of (almost) boredom on her part. A rendition of

iding the small success of his eponymous debut of a year ago and looking forward to the September release of its followup, the Philly white boy G.Love, accompanied by his two sidemen Special Sauce, turned what could have been a little-noticed Opera House gig last month into a minor triumph. As the scheduled showtime loomed nearer and the large holes in the crowd continued to gape, it began to appear that G’s audience was even more rarefied than I had suspected. But by the time the trio took the stage, the crowd had suddenly thickened to become an adoring mass. G’s streetwise style, well-distilled on the debut, constitutes a serviceable molding of two forms: rap and acoustic blues. It doesn’t always work - Love’s skills as a rapper are, well, idiosyncratic, and

his appreciation for the blues often seems more technical than emotional - but when it does it can be truly thrilling, capturing the freshness of disparate musics suddenly making sense together. It also goes down very easily. G.‘s songs tend to be goodtimey, a bit on the inane side (“They’re shooting hoops, yeh yeh yeh, they’re playing basketball” runs one chorus). In short, undemanding fun. The performance emphasized the utilitarian swing of the material, often exploiting the simple grooves to maximum effect, stretching them into longjams. “Baby’s Got Sauce” and “The Things I Used to Do” inevitably earned heaps of applause, but the entire show was a party, as sunny and danceable an atmosphere as I’ve seen at a concert in recent years. As a showman, G. is remarkably commanding, his Elvis pompadour and bums presiding over the genefal merriment with nods and finger-snaps. His homeboy accent - whether calculated contrivance or genuine Philly streetspeak, I couldn’t begin to guess - was often indecipherable, with only scat-

tered phrases emerging here and there: “Ah lahk cold beverages,” “This ain’t living.” Whether a puton or not, though, G. was an unassuming and immensely tikeable frontman. The trio’s considerable musical talents were in evidence as well. G’s guitar work was unflashy but his love for the harmonica (he’s a self-described John Hammond Jr. disciple) fueled some expressive solos. And Special Sauce, comprising bassist Jimmy Jass Prescott and Jeffrey Clemens on drums, were both virtuosos in their own right, although the lengthy drum and bass spotlights - more often than not mere disruptions in the flow of the mighty groove - were perhaps not the most effective way of showcasing their talents. Overall, thou&, G. and his boys accomplished exactly what they should have with their Toronto show: they ensured a heightening of their already substantial word-of-mouth buzz. All that remains now is to see if the new album, dubbed Coasl to Coast Motel, will cash in on the promise of the first.

MurderousUnvon Fest d

Edgefest # 3 Olson Amphitheatre. Toronfo Saturday, August 5th by Greg Imprint

Krafchick stafiE

ne word couid describe Edgefest three a few weeks ago: Cari-ticking-bana. OK, allow me a couple of sentences of self indulgence: after trying in vain to get off work anytime earlier than 3:00, I rushed down to the big smoke, hoping to arrive at the venue by 4:30 at the latest. And this would have happened, had it not been for the half million or so people swarmed around the waterfront, and the total deadlock of cars in any lot one could find. So an hour spent in the car, and another hour navigating through crowds, and this reporter walked into the Amphitheatre a full seven hours late at 5:50. Of course I could not let this daunt me from gathering some sort of story. After all, it was clear even before I got there that the main deal here was Sloan, and the fact that this was to be their last Canadian show. All 29 or so other bands, though well worth seeing, were only really periphery to this event. Overall, it was a well organized event by ‘NY. A couple of years ago, they put on a quite successful Edgefest that succeeded in putting together some fairly Beach (then) obscure names and making a major stage show out of it, and the same sor? of thing was accomplished here. After all, how many chances would bands like Adam West and the Super Friendz have ofplaying to this many people at once ? Not many individually, but by putting many such acts together and capping it with a big draw like Sloan, you suddenly have a stadium show, and a fantastic opportunity to expose your tunes to people who may not othenvise have paid attention. Too bad it was a far cry from being sold out. Take Sugar Ray for instance. An obscure L.A. band they may

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have been before the set, but in twenty minutes they played as if it was the last time they’d ever play in their lives. The crowd was only semi-into it until the lead singer invited the people from the back lawn to the front mosh pit and, in true Pied Piper style, jumped off the stage, ran up to the lawn, and led about two hundred teenyboppers down the aisles and into the pit. This, and the ensuing panic amongst the door staff, realiy got the crowd into it. A more meatheaded version of Rage Against the Machine they may be, but in the end it was entertaining. Thrush Hermit followed with

balls

ahoy

is Wraterloo’s

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for Treble

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what has to be one of the strangest sets of music I’ve ever seen. For minutes twenty-plus they played...nothing but straight ahead classic rock covers, including (gulp) four Steve Miller songs. En masse, the crowd were agape with a mix of surprise, horror, and flabergast, but as it became clear none of the-band’s own material was to be included, a certain tongue-in-cheek appreciation began. The closer “Take the Money and Run” had members of Jale and (is it really?) Chris Murphy onstage doing backing vocals and boogieing on down.

Cinema

very

own

and screen

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There has got to be a story behind this - I’ll let you know. The Killjoys proved to be the second most popular band in attendance, which really isn’t surprising considering a) the CFNY airplay and b) the popularity of Green Day. Yes they have three chord power-pop-punk to a fine science, and the kids(average age no older than 15) in their “Today I Hate Everyone” shirts just loved it. Which is all fine and good, but they tended to be nothing too inspiring to this critic. Treble Charger were up next, and kickedoffwith launching beach balls into the pit, surely a requisite for any proper rawk fest. A good show they indeed put on, though they looked a little lost in such a huge venue. 13 Engines then appeared and put many in the crowd to sleep, with their murky, static sounding guitars. “Smoke and Ashes” had some life, but generally they maintained their reputation as a crappy live act. And then...and then...the crowd was hyped, ready to pounce.. .and there appeared Jay Ferguson, and Sloan had arrived. They appeared a bit tense at first, well aware that this was an event as much as a concert, but numbers like “Sugar Tune” and “People of the Sky” soon gave the band that wonderful mix of confidence and showmanship that makes them such a fantastic live act. Their catalogue was extensively mined, everything from a track on thePeppermint EP, to the two songs on their last 7”. By the time the inevitable “Under- whealmed” made its appearance, the crowd was delerious, bellowing the entire song word for word in one of the biggest en masse demonstrations of fandom J’ve ever seen. They closed with “I Hate My Generation,” a song that coaxed a hundred-person conga line from offstage made up ofthe other bands, which demonstrated a great show of support for Sloan. Besides the lingering feeling of “For God’s sake WHY?! ! !?” it was a sendoff any band could be proud of.

libation. How

do I

ARTS

Friday, September 1, 1995

IMPRINT,

SNOOZER! Weezer w/Teenage Fanclub The Warehuuse, TO. Sunday, August 6th

by Pat MerLihm Imprint staff

he hype of a Weezer show isn’t built on musical talent which was apparently obvious to anyone in attendence at the completely sold-out show in Toronto. The band itself has grown in monumental proportions because of their debut self-titled album released an entire year and a half ago. The relatively short period of time, and the fact that they’re yet a group to prove themselves suggests that the hype really isn’t justifiable. The forty dollar price-tags on the t-shirts makes one wonder if this group is making the cash grab while they can, which from their poor performance is quite understandable. Touring their second time in Toronto, this time with Scotish sensations, Teenage Fanclub, and fellow Americans That Dog seemed like a bill that would more than cover up for Weezer’s lethargic excuse for entertainment. Nothing could really save, or make up for the fact that Weezer’s infectiously catty record doesn’t transcribe into a history-making concert, or at least one that would leave you with an itota of a fond memory. Considering the “event” status for the evening, the time and dollar value was hardly worth the effort to attend, although a lot of people did. Adorning the stage was a huge Van Halen-esque light-up “W” which provided most of the evenings entertainment with its blinking coloured lights. That and bassist Matt Sharp’s idea to rev up a crowd by yelling “Toronto” in a long drawn-out rockstar way. You know that all is lost when resorting to cheezball antics is the only source

the Student Life Center. ANSWER:

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was’ said was going to be the new single off a new record-in the works. Let me tell you about them...GARBAGE! Hearing their new songs only strengthens my convictions that Weezer is going down with a sinking ship come album number two. With the fasttrack to success without so much as a history to fall back on, the future for these one-album-wonders will be short. Teenage Fanclub on the otherhand are touring behind their recently released Grand Prix, and have three other quality albums to fall back on to immaculately fill out a good hours worth of song. Relying mostly on Grand Prix but dabbling with selections from Thirteen and Bandwagonesque satisfied some of the few that knew anything about them. Besides some incoherent “humour” about using Scottish flags for pillowcases, and other useless information, Teenage Fanclub was a minor saviour for an otherwise useless night of entertainment,

Guide us fast as y Hundreds are avai

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of keeping your audience from walking out. Part of the problem was lead singer, Rivers Cuomo, who was immobile the entire petiormance in Front of the mic with not so much as a word to the audience. Apparently he wasn’t happy with the six pins holding his leg together because of recent surgery which can understandably be uncomfortable. A word of advice to Rivers though; most people tend to schedule around surgery to avoid these kind of situations. Matt Sharp tried to bring up the energy from the very start, but this over-compensation was only ridiculous and then soon sizzled to stop part way through the set. Another problem that plagued this evening was the fact that Weezer’s album is incredibly short. Clocking in at about forty-five minutes doesn’t make for a lengthy set unless they have concocted a brand new bunch of tunes, which unfortunately they did. They in-

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ARTS

IMPRINT, Friday, September I, 19%

Angoogynous Goo Goo Dolls w/Smoking Popes and You Am I The Vdcano Monday, August 14 by Peter Brown special to Imprint

esque repertoire. Thus, with their own rock ‘n’ roll adventure well underway, the Coo Goo Dolls found themselves in Kitchener’s Volcano club on August 14. That their material has always seemed derivative is an understood fact; listening toSuperstarC:arWash

t never hurts to be christened by one of the apostles l ofcollege radio, especially when the ones laying on the hands are the kooler than kool but now defunct - Replacements. But the distance from the midwest to western New York is a much longer haul than the Goo Goo Dolls would have us believe. Three years ago, the Dolls were opening for The Replacements in concert, and soon afThe Replacements? The GOO GOO lhb? terward invited ReWho can tell? placements frontman Paul Westerberg to join his protealways carried the same guilty alges in the writer’s circle and relure as checking out Almost Hip at cording studio for 1993’s SuperStages. But from the Dolls’ show, sturcur Wmh. Westerberg, in the midst of his you’d think that the adventure has movie soundtrack phase, provided all worn off and performance has the words for, and sang, “We Are become little more than routine, and that’s a definite no-no. The the Normal” and lent his support in any way he could, while the Dolls Replacements broke our hearts by showed their appreciation by asgrowing up and breaking up, but sembling a quite Replacementsthey were allowed. They earned the

A Wigan The Verve The Phoenix, Tmwnt0 Tuesday, August 1 st by Nigel Clarke special to Imprint

he Verve have the luxury of occupying a niche that isn’t really the domain of any band at the moment. It’s dreamy, drugged out music strongly rooted in the great rot k ‘n roll tradition that every English band these days seems to aspire to. That’s why they’re Noel Gallagher’s favorite band at the moment, yet at the same time they can be loosely tied to a shoegazer ethic. With A Nurthem Soul being more of a straightforward, tuneful record than its predecessor A Stcwm in Heaven, it was no Another spIiff surprise that there was less emphasis on extensive guitar war&-outs this time around. Instead there were things like Richard Ashcroft playing an acoustic guitar for an encore of a new song and of course “On Your Own.” It also meant that a lot of their back catalogue was dispensed with, leaving only “Slide

Away” at the start of the set, and encore closer “The Sun, The Sea” to represent the first album. Even so, they just wouldn’t be The Verve without some swirling masses of music, and in this capacity the traditional set closer “Gravity Grave,” as well as a wonderfUlly drawn out and visceral “The Sun, The Sea” served well.

for

Mad

Richard

The band themselves are a curious mix. You have Richard Ashcroft, who is this oddly appealing mix ofa high school geek, someone completely spaced on drugs, and Mick Jagger, such that he’s called “Mad Richard” in the Brit press. He’s deathly thin, and loves

TOO

right. The Goo Goo Dolls have no such excuse. Unless you consider the crowd. A goodly number, granted, but too many of them stood blandly by while Johnny and Robby did all the work. Some half-hearted slamming broke out late in the affair, but no one likes to hear grown men beg. If the legacy of Westerberg and company was present in the basement that night, it could be found in the first of two opening bands, whether they realized it or not. New Zealand’s You Am I had the preslacker slacker look down perfectly, with the-lead guitarist even sporting Westerberg-esque floppy curls. The second band, Smoking Popes, made such an indeliable, lasting impression on this reviewer that I can’t remember a single thing about them. Am I making too much of this Replacements thing? Probably, but that’s my frame of reference for enjoying the Dolls, and I’m stickin’ to it.

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to show this off by wearing a tight t-shirt and flapping it up and down to the music. Besides that there’s the sweeping arm gestures, the bugeyed look of wonder at the crowd and the music, and this weird prancing sort of dance. Funny thing is that it suits the music to a T. In sharp contrast, the rest of the band are classic shoegazer types, completely into their instruments and seemingly every contour of their sneakers. This leaves everyone’s eyes on Richard, and he does well to hold your attention. In any case their new tendancy toward simpler songs has served them well, leaving the listener with something more tangible and worldly and soulful to lose yourself in. A hbrthern Smd deserves your attention. As for Change of Heart, they put on a reasonable set of music, with its good and bad points. All the same, given the heavy Anglophile nature of the crowd, their brand of rock played into a sea of disinterest.

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ueensrj&he are a bit of an enigma in the music world. They’re from Seattle, of course, but sound nothing like the rest of that scene. Early efforts such as The Warning ti Operu tion: Mindcrime feature heavy metal guitars and powerful vocals. Their latest release, The Promised Land, while a solid album, hasn’t had the same success asEmpire, which featured the mega-hit “Silent Lucidity.” Despite a drop in record sales, and ‘riet rumours of poor attendance, Queensjicheput on an incredible show, making excellent use of lights, film, and theatrics that enhanced rather than overshadowed the music itself. The opening song was an excellent indicator of things to come. The show began with “928 a.m.,” while two screens at the back of the stage played a mini-movie featuring lead singer Geoff Tate in a surreal computergenerated world. Tate wanders through wilderness, Geoff eventually discovering a giant totem pole and a mystic gateway that transports him to the “Promised Land.” As the song melted into “I Am I,” the band emerged, along with four Press photographers and two roadies dressed as reporters that hounded a suitclad Tate around the stage while he sang with the aid of a Madonnastyle headset. The carefully scripted theatrics in this and other songs to come suited the band’s material, and helped to shed some iight on

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some of the more subtle themes. As the song ended, the two roadies ripped Tate’s clothes from his body, an action symbolic of revealing his true nature to an audience that only knows his public image referred to in the song as the ‘Yt.” After playing a few more Promised Land selections, it was time for a block of songs taken from the epic concept album Operation: Mindcrime. The mini-set

Tate

Denomey staff

outhem metal mainstreamers Corrosion of Conformity played a packed Lee’s Palace in support of their latest release Deliverance. Despite sound quality that left much to be desired, the band put on a good show steeped with material from the new record and their previous, Blind. Corrosion of Conformity began in the early eighties as a thrash band but with their latest release and recent vocalist change they have become a true 90s heavy metal act (except for an almost refreshing lack of tatoos and body piercing@. Lead singer Pepper Keenan has become the focal point of the group since taking over the reigns from Karl Agell, a move that has benefitted the band by giving it a more current sound. The youhg mosh-hungry crowd was testament to C.O.C.‘s increasing popularity

- before

the strip

show

began with a cartoon scene of “I Remember Now,” and included lots of video clips featuring old and new footage for songs such as “I Don’t Believe in Love,” and “Spreading the Disease.” A pleasant surprise was the inclusion of “The Mission,” an excellent song that might have been overlooked because of its relative unimportance to the story being told. The set was completed with “Eyes of a

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Friday, September

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Stranger,” which melted into an extended version of “Anarchy-X,” complete with a sensory-overloading barrage of film images that culminated in a final deafening yell: “REVOLUTION.” After a quick break and yet another change of clothes, Tate emerged wearing a tuxedo and a top hat for an exceptional rendition of “Empire,” followed by the crowd pleaser “Jet City Woman.” Given the huge audience response it seemed strange that the band only played one more song from Empire. More computer-heavy videos played during a set change for a very theatrical. performance of”The Promised Land.” When the lights came up, the stage was transformed into a bar, complete with roadies posing as patrons, a grand piano, and a bartender serving drinks. Tate was seated at the bar in yet another change of clothes, pretending to be drunk while belting out vocals in between shots of fake (?) whiskey. Luckily he wasn’t too drunk that he couldn’t play the saxophone parts, which he did surprisingly well. More surprising was his ability to pull off album-quality vocals on virtually every difficult high note in the song. The really great thing about this performance was that he didn’t once attempt to cheat the audience by going down a couple of octaves. He kept the vocals true to the original versions, a detail delinitely not lost on the many fans that praised his singing after the show. After playing “Silent Lucidity,” a song Tate prefaced with a speech praising the crowd’s diversity, the band encored with “Someone Else.” It was a fitting end to the concert that marked the finale of seven straight months of touring.

But Rusty

amoung the new breed of hardcore music fans. The pit mongers and crowd surfers were out in full force and managed to have a good time despite a couple of overzealous bouncers. As stated, the set focussed on recent material such as “Dance of the Dead,” “Deliverance” and “Painted Smiling Face.” Before playing “AlbaKeenan proudly protross,” claimed that the song was about getting high, which ‘<we do all the fuckin’ time.” Thankfully, such attempts to curry the crowd’s favour were kept to a minimum for the rest ofthenight as C.O.C. let the music do the talking, rarely stopping for more than a few seconds in between songs. The only other disappointment was that “Vote With A Bullet,” was performed without are any vocal distortion. After a CLMmm, microphones so00 tasty!” good buildup featuring a Samuel L. Jackson quote from the movie Pulp Fiction, the ordinary soundMy Wounds:” good advice for most of the moshers after a night of frening vocals seemed a bit flat. The band ended the night with “Clean zied collisions in the pit.

Friday, September

IMPRINT,

ARTS

1, I995

Still Not At All Ill

Angel of Death Morbid Angel w/Grip Inc. The Uperu House, Toronto Sunday, August 6th by Alain Gaudrault special to Imprint

hile the featured acts were technitally Morbid Anget and opening band Grip Inc., a group far more insidious reared their ugly heads at the Opera House. Overadozen Nazi skinheads decided to make a spectacle of themselves, in the process making life miserable for many of the fans in attendante. After a short, unimpressive set from a local Toronto act, Grip Inc. took the stage and proceeded to Ljpress’ the audience with their tight, quickly paced show. The band played a hailed number of songs from their debut release, The Power of lmer Strength, and ex-Slayer skinsman Dave Lombard0 performed the mandatory drum solo. Many, including myself, were disappointed by the lack of a Slayer track which has apparently been a staple of their shows in the past. Nonetheless, the crowd was privy to Gus Chambers’ (vocals) taunting of the Nazi bullies who seemed to derive great joy out of pushing people around in the pit, and intimi-

dating those who would dare mouth off to theiractivities.Atonepoint,Chamberslunged into the audience swinging his mic stand hoping to make contact with a few of the thick skulls who sadly were reigning the pit. The skinheads voiced their anger and hailed Hitler, after being forced to scurry away from the mic stand’s heavy cast-iron base whizzing nearby. Morbid Angel then took the stage and played a near-flawless set. While they ineluded material from each of their four studio releases, tracks from their latest opus, Domination, were prominent. Unfortunately, none ofthe band mem-

The skinheads voiced their anger and Hitler

The Stillborn Lover directed by Peter Muss at the Tom Patterson Theatre until September 16th by Heather

were steering clear. While rumours have been circulating that Vincent is involved with white supremacist groups, these were flatly denied in an earlier interview conducted with Erik Rutan, Morbid Angel’s recently hired axeman. Despite Low attendance, musically, this show was top notch. Too bad certain groups have decided that their race’s supremacy must be exhibited through indiscriminate acts of hate and violence.

Calder

Imprint staff -

nyone familiar with Timothy Findley’s work knows that several themes resound throughout - family, secrecy, and sexuality. His award winning The Stillborn Lover is no different, but that does not, by any stretch of the imagination, mean that it is mediocre. Premiering in 1993 at the Grand Theatre in London, The Stillborn Lover comes to Stratford for the first time in good hands. Martha Henry, Artistic Director of the Grand at Lover’s premiere, adds her capable touch as Marian Raymond. William Hutt (some would add “the venerable”) appears in his

p;;~;~;;;;;;~;;

the obvious spectacle still occurring on the floor. Dave Vincent (vocals, bass) made repeated attempts to ~EJ$~~~~~ r

32nd season at Stratford as Harry Raymond. The Raymonds are a diplomatic family, called back to Canada from Moscow for an investigation. They stay with their daughter, Diana Marsden, and two RCMP officers in a safe house. The problem? Someone in Moscow has been murdered, and the Raymonds’ _ connection to the young man is dangerous for Michael Riordon, candidate for Prime Minister. The family must come to terms with the events, and their causes, while somehow maintaining the cohesiveness they have always known. Marian’s affliction with Alzheimer’s complicates the issues of truth and intention in lives that seemed full and happy* The set design is effective, bringing the actors up close and far away, playing them against each other in shadow and light as though they were pieces on a board game. continued

on page 10

ARTS

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IMPRINT,

Friday, September

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directed by William Wycherley I Festival Theatre, Stratford I until October 28 l 1 by sandy Atwal 1 Impfit staff I illiam Wycherley ‘s com1 plex restoration play I sex, London high 1 society, sexabout and. . . sex receives a

suitably grandiose treatment at this year’s Stratford festival. Rich, opulent sets provide a perfect background to the admirable performances by Tom McCamus as the arch-seducer Mr. Homer and his lecherous exploits. Supported by Stephen Ouimette as the poncey Mr. Sparkish, this year’s production boasts a talented, experienced cast that will only tirther strengthen Stratford’s reputation. McCamus plays the main character Mr. Homer, the town stud, intent on acquiring carnal knowledge of basically every woman in town, regardless of martial status. Unfortunately, after years of such a lifestyle, no husband will allow his wife anywhere near Homer. The play opens shortly after Homer has hired a quack (Geoffrey

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Bowes) to spread the rumour that he has recently become a eunuch, hoping that this will force the men bf London into lowering their guards. The plan succeeds famously, with most of the London-folk readily delivering their wives into the hands of the randy Mr. Homer. Always looking for ways to satiate his sexual appetite, Homer’s eyes settle on Margery (the title character, played by Marion Day) the recent bride of Mr. Pinchwife. Pinchwife has been away from town for several months, and has not heard the rumour of Homer’s sterility. Regardless of his attempt to steer his innocent new bride away from Worrier (or perhaps because of them) Margery is attracted to this naughty figure, and is eventually seduced by him. By the end ofthe play, Homer’s exploits have largely backfired on him, but as is the case with such comedic plays, all the misunderstandings work themselves out. The play’s highlight is the appearance of Mr. Sparkish, the town fop, played with limp-wristed relish by Stephen Ouimette. Ouimette (who excelled as the melancholy Dane last year in Stratford’s production of Hamlet) con-

1, 1995

Life

Margery Horner’s

gets a good horner.

look

sistently steals the stage from his fellow actors, and plays the effeminate Sparkish with a thoroughly enjoyable verve. At moments, the play rivals Wilde in its wit, but at times, the continuous puns on sex and male genitalia become somewhat tiresome. Overall, the play presents the outlandish exploits of restoration England with a joyous enthusiasm which will surely delight the audiences lucky enough to see this year’s presentation.

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oing to Stratford’s Festival Theatre tends to be a family ordeal to get that once a year Shakespearean fix whether you need it or not. Unlike other years though, Richard Monette (actually accused of being the Anti-Christ in previous pages of Imprint) has taken a hard line introducing more contemporary plays this year. With that said, playwright Peter Shaffer’s Amadeus was exquisitely done to perfection, even with the AntiChrist’s claws sunk into the production of it. Introduced in 1979, Amadeus was a hit that became adapted for Broadway, and in 1984, under the director Milof Forman, turned into al? Academy Award winning movie. The play isn’t so much about Wolfgang Amadeus Mozart, as it is about rival musician Antonio Salieri’s jealously over Mozart’s brilliance, Salieri acts as narrator

Calling reliving the events which led to Mozart’s premature death. Brian Bedford easily adapts to the character of Antonio Salieri, the mediocre court composer of Emperor Joseph II of Austria, and singlehandedly directs the play from the stage. Beginning on the supposed last day of Salieri’s life, he begins rumours of his confession of poisoning Mozart. Then with all intentions of suicide he would insure the immortality of his name alongside a true genius. His ten year relationship with Mozart unfolds into an evil conspiracy of j ealousy . When word of Mozart’s music spreaded around Vienna, Salieri marvelled at the beauty of his music, but later became enraged as he discovers Mozart to be a spoiled arrogant brat. Salieri’s boyhood bargain with God is quickly broken as he intends to sabotage and wipe out any memory of Mozart. As the play progresses Salieri befriends Mozart and uses his position of power to conspire against the young maestro. He repeatedly is forced to admit the absolute genius of Mozart, which feeds his jealousy to the evil end.

Stephen Ouimette’s excellent portrayal of Wolfgang Amadeus Mozart compliments Bedford’s Salieri, guaging any sympathy from the audience. Ouimette portrays Mozart’s illness rather convincingly and personifies the more flamboyant Mozart that most people would nut associate with such a musical mastermind. Megan Follows’ loveable Anne of Green Gables character is totally forgotten with a convincing Constanze Weber, who experiences difficulties being married to an adulterous and at times biting Mozart. The failure of Salieri to silence Mozart’s work, his failure to successfully commit suicide, and failure to have his name immortalized is all ironic. In the end, this is Salieri’s story - he is the main player, and recieves the attention. He also gets the last bow to a standing ovation of a very appreciative crowd. Although there are some that would still accuse Richard Monnette of being the Anti-Christ because of the conventions he sometimes takes to rip apart good drama, Amadeus is still untouched brilliant theatre that is well worth the drive to Stratford.

IMPRINT,

Friday, September

directed appearing by Greg Imprint

1, 1995

Waterworld by Kevin Reynolds at Fairway Cinemas

K&chick staff

evin’s Gate? Fishtar? Almost a complete waste of time? All this and ore is available to the viewer ifthey shell out the bucks to see this, one of the most overblown spectacles ever to hit the screen. While you watch Wuterworld, it’s impossible not to think of the huge expectations that have been weighed on this movie; estimates run that, after promotion and distribution costs, this movie has to make 400 million dollars just to break even. There’s a certain desperation prevalant the whole time, an awareness in every actor’s mind that they are

B 11

IARTS

to be finalized before they commenced shooting, and it shows big time, The cornerstone of all of this is Costner himself - never the best of actors, he is particularly awful here. Like it or not, he seems most at home playing all-American types (F~eldofDreams, Dances With IV&es, .JIXJ and his portrayal of the anti-hero fish-man called simply the Mariner does not work. From there things go from worse to just plain silly. Costner’s love interest is also conveniently the only appealing huma being in existance, and you know from the first second you see her that they’1 end up together. We have the girl wh precocious and knows too much, the big guy in the form of Dennis Hopper, the bad guy’s bumbling sidekick entourage, the funny old wise man, and so on and so forth. Hopper is not terrible but basically sleeps through the

Perhaps the most gauling thing is the complete scientific infeasiblity of the entire exercise. I mean c’mon, estimates run that if the ice caps melted the oceans would rise something like 300 feet. Sure Holland would be screwed, and places like Florida disappear, but the entire planet? Give me a break! Not only that, but the idea that no one would know that the Id once was dry itics is absurd. If sank under water, never occur to people to check out what’s on the bottom? Or for the people watching it sink, might it not make sense to start building lots of Scuba gear, submarines, and underwater cities? You get the impression the Ice Caps melted in one day, and if

you didn’t happen to have a boat in your driveway that afternoon, you were (literally) sunk. And Kevin Costner with gills and webbed feet?!? This sort of evolution would take tens of thousands of years, yet after that amount of time Hopper’s oil tanker is not empty, despite his band’s constant use of a fleet of jetskis. Of course, maybe the Mariner’s mom got really lonely out there on the water, and, well, had her way with Charlie the Tuna or something. We just don’t know. All of these technical problems might be overlooked in the face of a good story and acting, but in their absence you start to pick apart everything. After all, besides some pretty goJd action sequences (and they DO look expensive) there’s nothing else to occupy the viewer. That and laugh at the movie -rather than with it Kevin Costner’s producing days may now be in serious jeopardy.

851

Fischer-Hallman HOURS: a story there that could have been written, one that may have brought the genre of action-adventure to a new level, which is what Kevin Costner was hoping to do here create a big-budget action adventure with an intcll igent plot. He fails miserably. Wtirerworldis wrought with cliche, hopelessly trapped in typecasting and bad scriptwriting, Apparently the script had yet

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IMPRINT, Friday, September 1,1995

-Boss/~,p~Looz~ ..,. :+:::;. ,,,‘::I: ::,:.,,:I. <:;;: ~ y. ...‘:. :. -.. .1. .I>. ,... :_.,.... “P? .,,_ .)‘.‘.. _. ._ .,.

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by Brad Imp&at

The Mighty Mighty I#&&&&B :i’:; the hprinf interfi+@:~ .:_ .:; :.:I: \;, I :, I : :;, .+*.

Hughes staff

who

would

come

to this can say

they might have liked to be here last year but you can find something .. ; . absolutely amazing in every one of .:,I,::‘,:.: these bands that you kind of want ( :‘? to bring to your band, Kind of like, “You know we could do that really welf.“So we can kind of respect a

i i.. ,:..i. ..

When 1 talked to Nate (Albert, the guitar player) back timetalkingaboutthe separation between live and recorded

of closurti stage, .Jt’$.’ @ice to see you with

with

Dennis:1 don’t care. Baseball can

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Den&&~at’s our specialty. We like &@z sq the small stage where we can!h&reach other real@ great. We can really feed off each other. It% like we’re this creature that we really want to unleash on people, and you do$twant to feel the presyou know? It’s intense. It really is. sures f?om,@x powers that be beDo you guys have any :.,’ %ausetho@@-essures arethere. You Lollapslooza rumours of stories don’t nec&sarily, because we’ve .,.,,. you wanna teil? done thi&$&,the past, write a live Dennis:Loll&palooza record. S$$I$e have all these things that we’@hinking and feeling and rumours.. VWe’ve heard a lot of stuff. You hear the stories but you gotta we’re t@ing to work together. WOdX a couple of songs. .:..:,. : .W&vi+writ-ten ..‘~.. ..P__

You don’t wanna stir u&#tiy ;..: k.% .:. ‘(, i. trouble do ya? Dennis:1 don’t really.. iwell, ‘$CN know. I don’t really know that many if arty. Are you guys hanging out with anybody in particular on

To schedule your sitting

Tim: I love baseball but I hope the Red

Dennis:1 don’t care. They’re money-grubbing jerks! Tim:l’m actually not going to any baseb@l gamesthis year.. J’ve boycotted this year. DenniS:Let

them

play

their

little

games. Tim: Hey, it’s kind of fun being on the road becauseyou feel 1i keyou’re ‘,Fuji@!& a new song on that little B- ajust citizen ofthe U.S. and you can sid& thing and we played a new follow whatever teamyou like. You song today. They’re completely : don’t really have q,,&qmetownloy.::.$ifferent and that’s 8:’good sign. alty even thou&$& Sox are my ~;:Jf&ucan W&33j&t gor@Ory a&write some ‘&n. you ~$j&& now song; and see ihat happens and be a&& you fo j@@& $&$$I& ,;;:s‘,.:A...3@:i that &ey are@$~~%~~~;~~a11 honest about it. ’ <..:+. ,.... .. ,.q*,<,.. *Hawley team.&nymt&j&~e Is it a conscious ‘.,.. A.\.. :.:.,.:, 5,:.;, IX. move away from the %ka-core’

sound?

E+nnis:I don’t think

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flying around. Dennis:We didn’t know for sure if we ‘wereon it and people would say

Dennis:Pilsa playing‘tks tour we get to hear some songs. Anyone

continned

to page 23

Ih&UNT,

Friday, September

ARTS

1,1995

B 13

lock ourselves in our bedroom play it on a Saturday night.” As to the band’s

Drugstore

the Imp-in t interview by Greg Imprint

Hood-Morris

staff

ne would expect the story to go something like this: there are a number of British bands leading a so-called “invasion” onto these shores. Behind these leading lights such as Catherine Wheel, Blur and Oasis come a slew of smaller bands, such as Gene, These Animal Men and Drugstore. However between the last band and the rest there lies some obvious and reassuring differences. They don’t have an homage that must be paid to the Beatles, and they do not sound remotely British. In fact, out of the three members of the band, only guitarist Damn Robinson is English-born. Drummer Mike Chylinski comes from Los Angeles, and bassist/ singer Isabel Monterio grew up in Brazil, until moving to England after having a vacation there one year. Truly they are a transcontinent;ll band, and Imprint had a chance to chat with them. Isabel, with her charming south American accent spoke to us about what makes the North American and British music scenes so different. “College Radio is great. There’s hundreds ofstations, which are run by kids at the schools, and I think that’s great. I’m sure there’s a nasty side to it that I can’t quite see, but it’s a great outlet for new bands, as long as they don’t try to follow the K-Rock of L.A. and they have freedom of choice. It’s actually healthier than the British music scene; in England you haven’t got any college radio stations, you have, like, a couple, but you really have to

turn your dial to fmd alternative music. There’s specific shows. The B.B.C. has one show for one hour a day, but you have to kind of wait until that hour comes along so what you do have instead is the weekly press which is not as healthy as college radio because there’s such a variety of different scenes that can happen in America and England...am I talking too fast? Because you have the press they tend to kind of focus on one scene, for three months it’s going to be that one scene - the Mods, or the New Punk or the new whatever, and bands tend to suffer because six months later these bands could be forgotten. It’s just totally different ways of bands breaking”. So, do you think that that’s why image plays so important a part in the British alternative scene? “Sure, they have a very happening youth culture which is directly related to fashion. They go hand in hand, and these things happen at all times, and it’s always changing, but the good bands always survive, and overcome the initial rush and move on” As we sat there talking, I was fondling their excellent self-titled debut CD in my hand, with its mood I can only describe as sounding like Mazzy Star on speed. The first single from the album is called “Solitary Party Groover.” It started me gendering about just who this is. Isabel enlightened me. “I think we all have that little person inside of us for many times in my life when I was stuck in a hopeless job and I just felt like going fuck it, you know I’m going to find this little safe haven because 1 can’t stand this place anymore. We all have this romantic idea, when we’re kids, and we buy a record and

and

international

origins, Isabel pointed out that this might not be a bad thing. “I guess I would say there is only Planet Drugstore. We don’t make a big effort to sound one way or another we just sound the way we do.” The band took their name from the movie Drugstore Cowboy, starring Matt Dillon. They also have a tradition of playing the big British festivals, Reading, Phoenix, and Glastonbury. “Glastonbury’s like a city, except that people are a lot more free to do what they want.” After the interview they took the stage and did an excellent set, especially considering that most of the audience was there for novelty value. “Oh yeah, I heard of these guys in the Melody Maker” The show was mostly their album sprinkled with some covers - Sebadoh, Pavement, and the Archies, whose “Sugar Sugar” was the encore. A tall lanky man came over to the table where I was quizzing Isabel, and she looked over and said “This is Mike, our drummer. Mike come and say hello.” He was wearing a shirt with Yo La Tengo on it, so I asked him if he caught them when they played earlier in the week. He said that he missed them, but generally liked the American stuff better. “I like it. I like the British pop stuff too, but to me the more American slightly lo-fi...it’s got a looser feel to it. I love Luna. I love his voice, the emotion.” So it’s feel more than professionalism? “Definitely.” Of course, I had to ask how he and Isabel met. Well, he too happened to be in England. “I answered an ad in the Melody Maker for a band, and I went over there and they said we got this Brazilian bass player who really likes R.E.M. and then she walked into the room and that was it. We quit that band about four months later. Those guys were devastated.” Isabel frowned at him “That’s not nice.” “Well, they kept going. I like being a three piece, because our songs don’t need embellishing a lot, it makes it more to the point.” So does that make it easier to recreite on stage? “A little bit, but we do use two guitars in the studio, but live I think we gain another dimension, in power.”

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rior to leaving for Halifax I secured a date to meet with Sloan posterboy, Jay Ferguson, to fmd out the inner workings of Murderecords, the label created and run by members of Sloan. Of course the rumours were flying about whether or not the group would be around for another album, but to turn this into some kind of witchhunt for dirt wasn’t However, out of pure curiosity, and personal quite on the agenda. disappointment, one just can’t avoid such a topic when the group is so tightly knit to the label, and the whole East Coast music scene. Sloan single-handedly raised eyebrows across the country, and over the border with their debut Pepperment Ep in 1992, which also gave birth to Murderecords. Immediately getting snapped up by Geffen on the

label. Although soon after Eric’s Trip had a recording and they wanted to put something out and we’re like “we’ll do it for you.” Because Peter Rowan, who helped manage us at the time and also manages Eric’s Trip, is all part of the same family and we’re like “we’ll put it out through Cargo.” We had this little system set up already to plug into. Hardship Post was next and then it started snowballing from there. We started to become a little organization. Did getting MCA to distribute Murderecords come because of your signing to Geffen, and being

What also insued from Sloan’s fi$$@gning to Geffen, was interest in other talents from the East such as Eri$&@ip, Jale, and Hardship Post who

our CD’s and Cargo had struck up :._-?,@& with MCA for some of their

by Pat Merlihan Imprint etafr

at looking at a lot of websites that they are just the press bio and picture and maybe a soundbyte or whatever. But what we did for ours was instead of using the press release we had a fan of the band write a little essay on the band about how they really appreciate them so that maybe when people read this they’ll get a good feeling from it, from a fan’s perspective as opposed to “...this band started...” Sebadoh, who I’m a pretty big fan of, has a website that puts commonly asked questions and answers which is pretty informative.

good. Hopefully we’ll s&‘th#‘~p and we have an e-mail address; %e all signed to Sub Pop. The stir c& from this monu&&& ‘~~~~,~~i:3i/~~~~~e~. They &c&d to put the homepage is about half war 4$&z. directed attention to the East which @&influenced other up-an&~&$& M&$&r titles through MCA which You can click on each of GYWtalents like Thrush Hermit, Super Frit$& and Hip Club Giaoue, w&Q&o w&‘&e and we also had a relationleases and there is a little ‘i&& 1,’ ‘.’ .: have released material on Murdereco$$.’ : ‘: ship with MCA because of Geffen. written by someone in the bnjrid Sloan’s endeavours as a group, z$@their continued &tivity to docuIt was more of a coincidence. After abo* @&&$4%&e about reco@ing ment a music scene is significant to’&eed a whole slew of new young awhile we had trouble with Cargo it and ituc We’re trying to q&e it bands. What is also interesting is thel:d&ely knit association that all the and we decided to cut the middle-!. tin for fans who would be interbands have with one another. The c{&#ery of friendships and support man out and work directly witti, I : ested in it rather than dry rn+et& is pretty apparent when members of m Hermit, and Jale show up for MCA. We already had ;) good ’ or something like that. the final send off in Halifax’s Bird@$$Zabaret, one day prior to this relationshipgf#& peq$& f@sre. Seeing as Jade is signed td ,Sub ‘::. interview. ..~_i. .... ..” Sarah No~~,&$@&f&~~~~~@&nPop, I was wondering why the ‘..>., : ager, igy+&, &$, ~;#&-jere&& new Closed EP is being released :. ,,.:. ._... . i First I’d like to clear up the ru%pT Liason. & we &&dy knew her on Murder? : mour of Sloan breaking up. BeJr w;as QN@& iri&rnal, but evewhich was good. Thyeason was&fore they did fore I departed for Halifax it was * ryb&djf’& m&g, well’ tifi the stuff Sioan’s split with Geffen has had their first ;Sub Pop recuti, Dream

document it. They wanted to tour this summer and now they have a record to tour behind, so we’re very excited to have it come out. Do you take a look at what Matador, Dischord and other independent labels are doing and try to mold Murder around any of their philosophies? Yeah, we’re trying to rip off as much as possible. Our catalogue is ripped off the Drag City cataglogue. We appreciate those aesthetics although with Dischord, it would be embarrassing to say we’re trying to be like them because we have a major distributor and they’re so hardcore independent. I would be referring to their philosophy of helping out their friends to put stuff out. That side of it for sure. I mean Chris Murphy is a huge Dischord fan. He used to go down in the summer of’86, ‘87 he’d go down to DC., knock on the Dischord house door, Ian McKaye answers, “Hey...what’s going on?” So he went down and met Ian M&aye once. A lot of the excitement about putting out records is the idea of documenting a scene which is really what Dischord is all about. Documenting DC. hardcore in the beginning. That aesthetic 1 really appreciate, just trying to take a scene, like now, there’s so many

for Sloan?

greai. It might be a year, or-might be thirty years. What were the issues surrounding the final decision to break

nobody so we way it tion of

else would put it out for us did it ourselves, that’s the started, without any ambiactually of continuing as a

at Murder, is in the process of setting up a homepage for us, like a website so you can see all the pictures of different bands. We found

Post, and Eric’s Trip and we just never had anything by them so now it just sort of completes the picture of that era. It’s just kind of nice to

what I would do in a musical compacity, maybe J won’t, but maybe I will so I don’t really know. For now though 1’11just be concen-

trating on Murder. I don’t know what we’re going to do next. The most recent things we’ve done is the Sloan 7”, the Jale record and Super Friends album. We put out a 7” by Local Rabbits and if we did another record by a new band it would be fun to do a Local Rabbits one. Another Hip Club Groove record probably early next year and another Super Friend2 record in the new year. We want to build on what we have right now. Before it was like put out a Eric’s Trip record, or a Hardship Post and then they’re gone to Sub Pop. Thrush Hermit are going to be gone basically. They’re going to sign to somebody. So finally we’d like to build a company where we can keep artists for a couple of records so it’s not like one-offs all the time. We want to plan on the next year to concentrate on what we have, instead of looking for more one-offs. I read inE.x&im that the sales of the new Sloan 7” would contribute to the decision to break up. Now that it’s happened how are the sales doing? No really’? It’s doing pretty well...um...if we sell more than a thousand by September maybe we’ll stay together...no, just kidding-if we sell lots of Super Friendz records maybe we’ll stay together. So go buy Super Friendz records. It’s our new marketing plan. 1 never heard

that before but that’s funny. When the initial fax went out about your displeasure with Geffen, was that a bit of a ploy to insure that Geffen wouldn’t want to pick up the option on following records? Part of the initial idea was to, well sort of, I can’t really say. That wasn’t the main thing, not at all. It was more just the logistical problems of continuing the way that we were before even thinking about how to get off of Geffen. That wasn’t that big a factor, although it makes a good story. It’s like the swindle continues. Yeah, but I was fooled a bit at your show when the crowd kept shouting cSDon’t break up!” and you totally downplayed it. Oh that was totally embarrassing. I don’t know how to word it. We’re probably not going to be doing anything else, period, but we might. It’s just so gross. It’s like The Who, 1982, the final tour goodbye, 1989 they’re back- the 25th anniversary tour. Very bad tour. Billy Idol singing parts of Tommy. Never say never, but don’t expect anything in the near future. Any fina last words on Murder? It’s almost like that’s what’s Sloan is turning into. Sloan as a band may not continue but it’s transformed into Murder. This organization that we started, and Murder

grew out of it and that’s what Sloan is going to be. Sort of like Apple Records, like the Beatles became Apple, although not comparing us to the Beatles or anything. Ifwe are like Apple Records, I just don’t want to be the financial side of Apple which totally dove. I want to be Apple without the bad business sense of Apple. That’s the way I’d like to think of it. Sloan turning into Murder. And it will be an outlet for everybody to put out their own records. Murder was born from Sloan, but everybody’s individual things can be part ofMurder. We’re trying to make it sound more positive, and that’s legitimately what I want to do. So everybody in Sloan is happy with the final outcome? Pretty much yeah. I think so. At first I was pretty bummed because it’s like, “what the hell am I going to do now?” when we were thinking about our future. I’m too busy to even be worried about that stuff right now. I’m sort of glad, but I shouldn’t say that. But everyone is pretty cool.

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IMPRINT,

Friday, September 1,1995

ARTS

B 17

ARTS

B 18

IMPRINT,

Friday, September 1,1995

You, Me, and k.d. All You Get Is Me by Victoria Starr Random House of Canada, $14.95, 271 pages

Icd. lang:

by KeUi Imprint

Byers

staff

“‘Gossipy.. .Scandalous. yeuristic .” Mirror Magazine

Vo-

PIhis

was one of many comments on the back of Victoria Starr’s k.d. lang: All You Get Is Me. What I want to know is which book did hGnw Magazine read? I found All You Get 1s Me to be very upright and insighthl, quite the opposite of “gossipy” or “scandalous.” This was not a trashy rumour-mill book like many biographies of those in the big spotlight of Hollywood or the music industry. Victoria Starr took an honest look at k.d.‘s life and Starr did not leave a lot of room for speculation on ‘juicy’ rumourmaterial, such as k.d.‘s sexual orientation, her strong animal rights beliefs or her spirituality. From the time Kathy Dawn was growing up in rural Consort, Alberta to the time that she finally proved herself to be a big star across Canada and the States, she always did things her way and bowed down to no one. k.d. got all that she has accomplished by never giving up on what she believes in and never backing down just to fit into the industry to which she belongs. k.d. made her mark in Nashville with her polka/ country music, winning several

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bums, she did a little acting and, as she is a vegan, became very publicly involved in her animal rights beliefs, with PETA (People for the Ethical Treatment ofAnimals). k.d. came back with her best album ever, Ing&nue, after this break, something that was quite unlike anything she had done before in her “country days,” one that bared k.d.‘s soul for

the world to see. Once her new album had been reIeased to the public, k.d. finally admitted what people had suspected for years, that she was a lesbian. k.d. has become one of the first successful and accepted artists who is openly gay and also voices her strong opinions about animal rights. Through her courage and openness, she has begun to close the gap between people of these groups and the general public. Most sources Starr used to tell lang’s story were reliable; well known (and trustworthy) journalists, k,d.‘s producers/ manager, k.d.‘s band members, and her fi-iends. Starr was able to gain some great insights into k.d.‘s life and some of her personal issues. Victoria Starr used an abundance of quotes from others, but relatively few from k.d. herself, which I found disappointing - I wanted to hear k-d. ‘s “voice” more. The only other disappointmcnt for me was that the book ended too soon. We were just starting to see more of the woman, rather than the star and then the book ended. Which is too bad; k.d. is an incredible, open and straightforward woman. The writing style was clear and concise, making All YOU Gel Is Me an easy, quick - paced read; overall a well written biography. k.d.3 story was engrossing because it was written in such a personal, open way. This beautiful, strong and enduring woman may finally be understood for who she is rather than what she is.

Not Pat-Kate! FOO FIGHTERS “FOCI FIGHTERS”

Gender Outlaw by Kate Bornsthrr Vintage Books $16.95, 295 pages

I ~OWESl~A~l-WAlERlOd746-1478 96KlH6Sl.W.Kll~HEHER-576-4l70 by Heather Imprint

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awards and producing an album with Owen Bradley, one of the big names in Nashville. After country radio completely ignored k.d., despite her gigantic public and record sale success, k.d. gave up on the country scene and took a few years off to do many of the things that she wanted to do but never could due to her tight touring schedules. During this break, k.d. appeared on many compilation al-

Calder staff

ate Bomstein is a transsexual lesbian feminist, whose partner just underwent surgery to become a man. Oh, what a life she leads. This work is not about her life, however; it is about the concept of gender. Bomstein argues that our genders are imposed on us by someone in a green gown when we are born, based solely on our genitalia. In her experience, that person doesn’t always get it right. Bomstein went through three marriages, had a son, worked for IBM and joined the Church of Scientology, all as a man. Later she joined the theatre life she had always loved, and eventually came to terms with her own misplaced gender. After Bornstein’s surgery, though, she does not always feel like a woman. Her work tries to show all of us that we have never really thought about being a man or being a woman. She asks some hard questions: What does it mean to be female? What does it mean to be male? Whv do we have to be one or

the other? She examines the construct of gender from several perspectives through fashion, behaviourcues, societal expectations. She informs us that there are variations on the theme, and outlines them in the but&/femme, top/bottom/, she/ male, pre-op/post-op language of several subcultures. She examines the “Rules” of gender, and debunks them. She plays with the concept of gender, fondles it, slaps it around a bit, and puts it to bed as out of date and inappropriate. A good portion of the work is about Bomstein’s life and for good reason. Her life is rich with resource material, and as she tells her story, or the story of Albert Herman Bomstein, she leads the reader to empathize with all people of neutral or indetermined gender. For most of us, the concepts Bornstein describes, albeit in clear and concise, occasionally ad infinitum terms, are hard to wrap our heads around. But in a way that’s what Bomstein wants. She aims to puzzle, to tease, and make us think about gender in the way we are teaming to think about sexuality not as right or wrong, black or white, but as so many, many shades of iFY* Bornstein is articulate, educated, and very funny. She is creative, too, and the layout of her work

is unorthodox, in keeping with her message. She integrates pictures and memorabilia into the chapter titles, giving us scraps of her past life. Her text is justified in the usual way; however, quotations from others are added at length on the left, and she makes intejections on the right. The result is a piece of campy academia, like a conversation with someone bright and eccentric. The penultimate chapter consists of a play she wrote and produced in 1989 called Hidden: A Gender. The play is not great theatre (to read maybe it’s great onstage) but it is interesting and informative without being didactic. For those of us who are unsure or uninformed about our own gender, Bomstein is challenging. I really like her take on being a woman, since she had many years as a man - as she writes in the last chapter, describing a leering man: “My mother never raised me to deal with this. I haven’t spent my lifetime learning how to deal with this. Each time 1 see him, I feel like a deer on the highway, caught in the headlights of an oncoming truck.” Despite her experiences, Bomstein seems remarkably well adjusted and happy. Even if you don’t have any questions about your status as an X, you’ll find Bomstein witty and worthwhile.

IMPRINT,

Friday, September

Worst

Westmoreland%

gift for words and declarative sentences, and a man who’s seen more than his share of diabolical late-twentieth century horrors. Amett’s era as a journalist is widely known as “post-war,” but wars never go away and his career is that of a relentless war correspondent. He commenced his risky profession during a vacation to South East Asia as a reporter for the English-language Bungkok World before starting his own newspaper, the Vientiane World, in Laos in 1960. Within months of this project, Laos was seized by a military coup d’&zt, the first of many political overthrows Amett would witness in his lifetime. The authorities immediately closed his paper, claiming it was being financed by the CIA, but Arnett managed to risk grave danger and smuggle his film and story of the coup to the Associated Press. His scoop was rewarded by AP with a position as their correspondent in Indonesia. The position brought with it tremendous

Live

From the Battlefield by Peter Arneft Touchstone Books, $19.00 by Dave

Fisher

Imprint staff

f you were anything like me back in January of 199 I, you might recall breathlessly staying up late at night to watch the Gulf War taking place live on your TV set. And if there’s any clarity remaining in that memory, you’ll probably remember the media’s star reporter, CNN’s Peter Amett, a man disparagingly referred to by overly myopic American patriots as “Baghdad Pete.” Amett has taken two years off his hectic schedule and journalistic journey to write his memoir and set a lot of stories straight, particularly his celebrated tenure during the Vietnam War. The result is an immeasurable page-turner written by a journalist with a rare

Gm I I I I I I I I I I I I I I I I I I

B 19

ARTS

1,1995

YOUR

Nightmare

power and influence in that country, but Arnett’s rigorous coverage of the Indonesian government fell into disfavour in Jakarta and he was expelled from the country. AP reassigned him to Vietnam in 1962. The Associated Press Saigon office in 1962 was staffed by three journalists, including Arnett. By 1967 AP would support a staff of 400. Amett saw the Vietnam War from the beginning and was the last American correspondent to leave, staying behind in Saigon after the 1975 evacuation. Amett encountered numerous tragedies and occupational hazards, leaving the security of Saigon and reporting battles near the Vietcong border. His coverage was that of a blessed man, escaping bullets when others around him were dying, and he was rewarded with the Pulitzer Prize. The memoirbrings the tension and excitement of his Vietnam days vividly to life, and gives an insiders view as to the rift the correspondents coverage was creating in

American public opinion and with the Pentagon and White House. The blame of the USA’s defeat in Vietnam on reporters was one that would stay with Amett when he went to Baghdad years later. Arnett covered many wars after Vietnam -- Cypress, Panama, Afghanistan, El Salvador -- but his coverage as the lone man in Baghdad for CNN was his most famous. Declaring they’d learned their lesson in Vietnam, the American military authorities imposed blanket censorship on the press. Amett was lucky to tell the story from Iraq, but being forced to clear Iraqi censors and telling the reality ofthe smart bombing made Amett look like Saddam Hussein’s bum-boy and he was pilloried all over the States. In the end, his reportage was exonerated. Amett is the definitive contemporary war correspondent. His memoir, accordingly, is a brilliantly insighthI work from a man who’s seen more than his share of bullets.

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Pat Merlihan

Imprint staff

don’t know if Bret Easton Ellis has made it a mision to highlight the utter decay of high society, but on his third novel he again delves into the moral follies of the rich and famous. Already responsible for the All-American classic American Psycho and Less Than Zero, Ellis again returns to the moral badlands of Los Angeles to depict his characters in their sick and twisted environment. If you ever thought that all your problems would be solved by being rich, think again. The rnfbYmer.s leaves you feeling that being middle-class isn’t so bad. Beginning the book on the premise of a 90210 without the Walshes, four teenagers with money to bum, groan about the problems in their lives, and allude to the death of a past friend that nobody wants to talk about. From there the novel branches out kind of like Richard Linkletter’s movie, Slacker, where the story continues with new characters that are introduced. However, unlike Slacker, the different narrators are all related to each other in some way. Be it a drug dealer, an acquaintance, a faint mention in a previous chapter, a vampire, or other downright vile scum that come up with or against other characters N Naturally every character is fucked up and needs a good Valium fix to make it through

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the day. Casual sex, affairs, drugs, and death seem to be a pretty norma1 affairs, and everybody remains totally untouched by any of it. Everybody is absolutely alone amongst ‘?rienhs” and the family name you hoid is just that, a name. Ellis does his best to bring out the worst, which is alien at times, but none the less

it’s nice to read about people more fucked up than you think you are. Ellis creates this novel into somewhat of a series of short stories that are all very closely related, which coincides with how he creates his characters. The first bunch of chapters are difficult to piece together because the changes are so unexpected. Sometimes it takes reading half the chapter to figure out the sex of the narrator, and who

and how they relate to somebody else that was already introduced, or about to be introduced. It’s a bit of a puzzle, but the joy of this read is putting the pieces together. It’s only towards the end that Ellis puts the stomach-churning elements into the nastiness of the novel. Ellis maybe goes a bit overboard with gore as he rips into details of vampire rapes and killings. Another story about kidnapping a boy and repeatedly stabbing him in the back and throat after a four day torture session in a bathtub is another dark tale that Ellis feels is necessary to properly detail the downfall of people. Instead of Ellis just editorializing about what he thinks of society, he passes the buck through his characters that detail their lives from their own perspective. This introverted look into the many characters is what is so interesting about the read. This is what really makes the overall theme about social values and morals so sad - that all ofthese characters, even theones that started out good, are evil to the core. At the end ofthe book you’ll really have to reflect on the stories to see what the heck Bret Easton Ellis wanted to say in The hfurmers. The last chapter, which didn’t seem to jive with the rest of the novel, kind ofsums it up. Set in a zoo with an adulterous couple looking at the animals, Ellis basically says that we’re animals that prey on each other and have no moral values whatsoever. This isn’t so far off the mark of Ellis’ previous work, but still a read that will make you question the capability of human beings to be inhuman.

Listen to the Children

hs 0 0

by Heather

An effective,

Friday, September 1,199s

King St., N.

103

IMPRINT,

here is nothing so perverse, nothing that betrays so corn pletely, as child sexual abuse. The abuse of power and privilege and the violation of someone so innocent is contemptible, and most of us would prefer not to think about it. Ifwe don’t talk about it, we don’t have to deal with something most of us cannot fathom. Hence the title of Judy Steed’s important work, Our Little Secret. But Steed doesn’t pander to our desire to ignore. She sets the evidence in front of us, forces our eyes open and unplugs our ears, and shouts the horror. It works. Steed is a feature writer forTlze Toronto &zr. Having covered many incidents of child sexual abuse, she became familiar with the denial of parents and authorities. Here she outlines many steps of the process of detecting, diagnosing, investigating,,healing, testifying, and moving on from sexual abuse. She uses case histories and interviews with investigators and psychologists to show us how the deed happens under our noses. Her research is thor-

ough and professional, her tone almost aggres- sive.The result is horrible - but for some reason we cannot stop reading. When your eyes are opened, what you see is a powerful thing. Steed begins by documenting sustained abuse by a trusted and charming choirmaster in Kingston, and here we see how blind parents can be to their children’s distress. Elsewhere we read that parents refuse to condemn the perpetrator, even if their child is one of his or her victims. Coming in contact with these cases, most of us would beangry, if not furious, and this is Steed’s point: listen to the children. Carefully. Steed is there for an investigation into a ring’ofpedophiles who, after visits to the Philippines for sex vacations, compile detailed records of their encounters. She follows the progress of children who were victims of a ritual abuse ring that included their birth mother, and have since been adopted. She shadows a pediatrician who specializes in the diagnosis of child sexual abuse and treatment of victims. She writes of healing, and describes the journeys of three survivors, each of whom deal with

their pain in different ways with different results. Finally, Steed documents the trip to court of incest survivors, and two sisters’ fight to go public wirh rheir experiences. Throughout the work, we feel disgusted and horrified; but we also feel hope. Many of these people are recovering relatively successfully. More than that, though, Steed’s factual tone drives home her point. It is out there, it happens all the time, and the only way to get rid of child abuse in Canada is to confront it.

IMPRINT, Friday, September

1, 1995

B 21

ARTS

An American Wolfman wares, they agreed to the amount to stay on the air. XERF was soon out of debt and the Wolfman was heard every where, every night. The show was so popular and profitable through selling things like Wolfman Jack roach clips, that tapes were also broadcast over seas via the by Steve Sobczuk Armed Forces network and other special to Imprint Mexican border blasters like XEG and XERB on the west coast, soon eorge Lucas’ 1973 film to be his new home and the inspiraAmerican Graffiti made the Wolfman tion for Lucas’s movie. a household By 1966 Smith had finally name. His voice was the string that made it Hollywood, where the stutied the movie’s narrative together dios for XERB 1090, the Soul Exas his Mexican radio station was the soundtrack to the last night of press, were located. Targeting the underserved black community of the summer of ‘62. Unfortunately, Southern California his formula for it stereotypes the Wolfman as a product of the ‘50’s, when it was success quickly caught on. He hired the best DJ’s around and even had really during the603 and 70’s when the legendary James Brown on the he realized the image he portrayed, fixing in the public’s mind the imair, but little is written about the Godfather of Soul, sugage of the rock’n’roll ’ gesting their egos DJ. :igj.$_..:..__ clashed. The station He was born .i was sold in 1971 and Robert Smith in he moved to LA’s Brooklyn New York, KDAY, an AM prosecond child in an gressive rocker. He was upper middle class also set to work at family. His father lost everything in the KPCC-FM which 1929 stock market would later become top rated modern rock stacrash and became a tion KROQ-FM, howshoe salesman and then turned to writever it went bankrupt ing, ending his career before he ever got on the air. His profile rose as a Vice President at even higher when he the Wall Street Jourappeared in American nal. Though a workaGrajfti, giving a face holic, the ability to to an often heard voice, strike up a deal was Soon television work not lost on the blues loving youngster. came his way through ABC-TV 3 Midnight While sick with mononucleosis, Special which ran from The Wdfman does his best John Travolta imitation young Bob age eight, 1973-8 1, The Wolfinan hevehped a iovefor radio through up his car and headed west with his was now a household name, and the comedies, dramas and serials new wife, but they got sidetracked becoming the topic of songs by that were the standard fare of preand found a job at the even smaller Todd Rundgren, ZZ Top and the television network radio. His des250 watt KCIJ in Shrevesport LouiGuess Who. In 1974 he returned to his New York home to work at tiny was solidified as a teen, as he siana, where he would play country and western music. When he got WNBC where he would take on the would hang out with his friends in Brooklyn and listen to XERF, from there, the station was AM giant WABC and market leadthe other side of the Del Rio, Texas underperforming - it needed tomake ing Cousin Brucie. That lasted only money fast. Once in town Smith a year as the suits at NBC didn’t like border in Cuidad Acuna, Coahuila, Mexico. In these post war years the got the idea to get the preachers him smoking reefer in the studio station played “wild assed” hillwho bought air time on XERF to while the NBC studio tour was gobilly music and fire and brimstone run their preaching on KCIJ. Wanting on. ing only a fraction of XERF’s fee, By 1976 he would get involved preachers in the evening and after they went for it, and KCIJ was soon with an ill fated oldies tour playing midnight. a guy called Big Rockin’ Daddy played jump blues which in the black. However Smith missed state fairs and then get a CBC-TV through Louie Jordan and Ike his beloved rhythm’n’blues show show out of Vancouver. The Turner and his Rhythm Kings would and had an idea. residuals from TV and film allowed turn into rhythm and blues to beThe preachers made a lot of him a life of leisure and he retired to come rock’n’roll. money through XERF by soliciting Virgina with his wife Lou. Re1570 XERF, “Your good donations and selling religious paracently, before his death in July, he neighbour along the way,” broadphernalia. This gave Smith the idea had stared a syndicated oldies radio cast with 250,000 watts or 5 times to drive across Texas to Cuidad show out of Washington DC. and Acuna, and loaded his briefcase was back in the public eye. He was the power of the most powerful U.S. and Canadian AM stations like with two grand and a tape of his 55 years old. Toronto’s CBL 740. The station show* He knew that a man named The key to his radio success was so powerful that at night it Arturo Gonzales ran XERF, Smith was his interaction with telephone callers, American Grafirti expliccould be heard literally around the wanted to put “Wolfman Jack” on itly portrays this facet of his unique world. It would not be until 1964 the air after midnight. The station owed the Mexican talent. Never belittling callers, althat Bob Smith would drive down to the other side of the Rio Grande government back taxes so Smith’s ways having fun with them, the and air his show. . ’ business partner wrote Gonzales a WoIfinan knew how to entertain After completing a radio broadfifteen thousand dollar check on people, something contemporary KCIJ’s account to clear up XERF’s radio seems to have forgotten. The casting course at a private school and hanging out at the New Jersey debt. Keeping the government and book is a very easy and amusing other enemies at bay, Smith took read and fast paced. Details of the r’n’b station WNJR, watching the legendary Mexican AM stations are DJ’s and occasionally spinning command of the station and started renegotiating deals with the preachalso very valuable as they provide a records, he landed his first job at glimpse into a long gone world Newport News, Virginia’s lowers, doubling and tripling rates. They knew he meant business when where radio rebels ruled. Readers powered Jazz and R’n’B formatted sensitive to details of sex and drug he stopped running the preachers WYOU. Hired because he was a use should take note as they are white guy who could sound black, tapes and ran his own r’n’b programming. Cut off from selling their frequent and explicit. he could sell advertising to local Have Mercy! Confessions of the Original Rock’n’Roll Animal by Wo&nan Jack with Byron Laursen Warner Books $26.95, 362 pages

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white businessmen with great ease. Smith learned that he loved to make deals and soon discovered that with a little grease and street smarts he could get anything he wanted. The owner soon gave him the important afternoon drive show and allowed him to play whatever he wanted out of his ever growing collection of blues and jazz records. Switching his on-air name+ to Big Daddy Jules and cooking up an animalistic personality, he quickly became very popular, enough to meet his one and only future wife, Lou Elizabeth Lamb. WYOU was sold and the new owner wanted the tiny station to sound like a full service powerhouse, WCBS New York, Smith’s heart wasn’t in it and wanted desperately to break into the movie business in Hollywood. He packed

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ARTS

IMPRINT,

Friday, September

I, 1995

Kibbll s md 64 Bhs karaoke machine. We put Saturn through the paces with three hot new games:

Daytona USA

Sega Saturn by Stan Denomey

Imprint staff

LICENSEJ~

- EST, 1985

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inally. A game system that delivers on the promise of real arcade quality graphics, animation, and crisp stereo sound. Saturn, Sega’S latest gaming platform delivers on all counts with 64bit power, CD format games, and a multitude of available or in-theworks peripherals such as a 6 player adapter and full keyboard, Ming Sega from the realm of mere video games into the hot arena of multimedia entertainment. The current video game standard is 16 bit, as is the case with Sega Genesis and Super NES. The advent of Saturn’s 64 bit power will almost surely put 16 bit machines in the same category as Intellivision and Atari 2400. First and foremost, the graphic and colour capabilities of the Saturn far surpass any 16 or even 32 bit platform. Thousands of colours combined with superior pixel resolution allow for video-quality images to be displayed. Specialized hardware provides graphical functions including wire framing, flat shading and gouraud shading. In lay terms, these functions translate into high quality animation and mind-blowing three dimensional action. The CD format of the games allows for more information to be stored on a disc, such as the elaborate introduction to Panzer Dragoon. Buyers also need not worry about lack of games, as there are at least two dozen games available right now, with many more planned before Christmas arrives. Besides sporting some absolutely mind-blowing three dimensional video game animation, the Saturn is also able to play audio CDs, CD+& (audio CDplus graphics), and CD+EGs (audio CD plus extended graphics) using sophisticated on-screen controls. These controls allow the user to select different audio channels for multiple languages, program a sequen of up to ten tracks, shuffle, a adjust surround sound settings for three dimensional sound

Daytona USA is a stock car racing game that features extremely life-like driving simulation. The game allows players to select from several different cars including manual and automatic transmission models. Three different race tracks are available, ranging in difficulty and number of laps. Pit stops are also part ofthe game, although they seemed to be unnecessary for the most part. Navigating your car requires a bit more driver savvy than the typical racing game. Just like in real life, the car will fishtail if pushed too far on a curve. Rubbing up against the wall or colliding with other obstacles resu1ts in damage that is cumulative and will affect your handling and performance. While you race, a computer coach offers advice in a southern U.S.A.

accent such as “Try to take it easy on the car!” and “Careful, you’ll burn up the tires!” Overall the game is fun to play even if, like me, you’re not a big fan ofracing games. Shortcomings include the lack of race courses and average graphics that don’t touch the arcade version.

Panzer Dragoon Imagine a cross betweeti’ace Harrier and Joust. Sort

Virtua Fighter Vinrta Fighter is an excellent hand-to-hand 3 D combat game featuring eight different characters sporting a variety of fighting styles and special moves. Those familiar with the arcade version will be pleasantly surprised to find that the Sat-

urn copy is not only virtually idenGcal but actually is superior because of extra options such as varying the number of matches and the strength of computer foes. Highlighting the game are the quick zooms and angle changes as fighters move around the screen. The shelf life of this game seems to be pretty long, an important point to consider given the cost of video

quickly against

become good enough to handle a

worms.

couple of villians on the easiest level, the game becomes extremely diffi-

that was on the

simulation.

The coolest function however, is the ability to adjust the pitch of vocals, including a mute facility. The mute function suppresses the middle band of an audio track, so that for most stereo recordings, the vocals are silenced with little effect on the music. This effectively transforms the Saturn into a nifty little

easy, whereas actually hitting something is tricky, due mainly to touchy controls. This game has six levels, exactly one of which I was able to pass. As you can tell, I found the game to be rather difficult, and thus lost some interest. It does manage to showcase Saturn’s advanced three dimensional capabilities, and a very cool introductory movie that tellsthe story behind the game. The graphics and sound are top-notch, and although I personally am completety useless at this game, it has proved to be very popular amoung other garners. I recommend it for fans of flight simulators and air/ space combat games. pretty

weapons: a laser gun and a homing laser, which can lock on to up to eight targets at a time. Firing is

player mode, and a ranking mode, that rates your fighting ability based on style and variety of special moves used. Luckily, this game is included with the Saturn.

IMPRINT,

Friday, September 1, 1995

ARTS

B 23

More Boss-a-palooza continued

from

page 12

Dennis%% always good to be nobodies. Tim:Hey we’re not nobodies! Dennis:We’re just low men on the But that’s good betotem pole. cause people don’t expect much of you and we feel we can be entertaining. Do you like being a surprise? Dennis:Yes! We love it. Everybody I know who’s gotten into your music has a result of you blowing them away while opening for somebody - especially that Stone Temple Pilots tour. Dennis:We love it because there is no pressure on you. You really feel comfortable and you just play your set the best you can. Tim:Really the Stone Temple Pilot thing was just three shows in Canada. Dennis: We toured with them in Europe mainly with Fishbone. A bunch of cool guys. TimNo I’m not trying to knock STP.

You guys were doing that benefit concert way back in the spring. I believe it was for the victims of those abortion clinic shootings in Boston. Tim:Oh yeah, Friends of Shannon. Those went reaily good and they got a lot of press. Any time you can bring attention to that issue it’s good. Do you plan on getting involved more? Tim:Well we’re trying to put out a benefit album on our record label Big Rig for the Friends of Shannon organization and a lot ofbands have committed to do it. But basically Friends of Shannon is Kay Handley of Letters To Cleo. It’s her baby so as fast as she does it we’ll put it out. Dennis:We just want to be there to help out. If packing a small club can raisemoney for something then we’ll do it no problem. Tim:It did freak us out though when it happened. It was right down the street from where we lived. Toronto’s main abortion clinic was bombed a few years back. Dennis:Really?!?

Tim:It’s fanaticism and it’s not even really about abortion. It’s about control. It’s about power. It’sabout the way this country...well the United States will be governed. Canada’s not that bad. Den&It will filter into Canada too. Look out it’s coming. Look out for those Pro-Lifers! ! They kill. They kill. How about your big movie experience in Clueless? How did you guys get hooked up on that? Tim:Because we needed the money. Dennis:Well because they asked us and the IRS was coming down on us hard. We were hiding out in the Bahamas. Which is true. Yeah you and Willie Nelson. Dennis:Hey yeah. Well it seemed kind of cool. Tim:We wouldn’t have done it if we didn’t like it. It was a good script. The woman who wrote it (Amy Heckerling) always is good. We knew it wouldn’t be a dog. Dennis:And we got to play ourselves, Tim:And it turned out to be a great movie we saw it the other day.

A Steadly Man Ralph Steadman Art Exhibit at the Seagram Museum until October 29th by Karin Zvmitajs and Sandie Edwards special to Imprint

ere’s a little-known fact about Waterloo: there’s a lot of cultural stuff to do. As students, our lives seem to revolve around study, sleep, food, drink, and - dare we say - sex. There is, however, another side to life. Waterloo is alive with culture and arts. So may we suggest, for those wanting to delve into this community within our community, the Ralph Steadman exhibit entitled “Ink, Drink.” It’s free, it’s tinny, and it’s air-conditiuned! Showing now until October 29 at the Seagram Museum. Ralph Steadman is an Englishmen who presently lives in Kent. He studied at the London College

of Printing and Graphic Arts, and his early work consisted of cartooning for newspapers and freelance work for Punch magazine. He has illustrated a plethora of books and written several childrens’ books as well as authoring other witty stories. Steadman’s name is also now synonymous with Oddmans wine merchants. The Seagram exhibit draws on illustrations from two books, The Grapes ofRalph and St&L$e with Bottle, that are the result of his exploration of winemaking and whiskey distillation for the Oddbins company. The exhibit consists of four parts: “Characters,” “Landscapes,” “Consumption,” and “Production.” The drawings are accompanied by witty text. The characters range from obscure personalities, like the androgynous Gay Franbuggery, to real historical figures, like the infamous Dom Perignon. A favorite topic of Steadman’s is the uncouth behaviour of Americans. He makes various stabs at

American culture - like “The Wine Slob,” whose philosophy is “If I’m gonnataste it, I need a lot.” Another example of Steadman’s humourous take on the winemaking process is the ancient process of wine stomping: imagine a band of Portugese men, arm in arm, identicalIy clad in red checkered rugby shirts and denim shorts, singing at the top of their lungs. Steadman’s darwings exude colour, vibrancy, humour and energy. He makes beautiful use of line and uses a unique splattering technique. His fine drawings come alive with splashes of colour - sometimes bold, ‘sometimes subtle. The exhibit shows the various facets of Steadman’s talent. You don’t need to be a wine, nor an art connoisseur to enjoy the nutty world of Ralph Steadman. Take a study break and venture over to the Seagram Museum to add a little variety to your fall schedule. Guaranteed, you’ll be intoxicated by the glorious exhibit.

:cs.

” Thursday. September 28th, 1995 7:OO tsm (doors open se 6~30)

Theater I

of the Arts

Uri~*fsity of Waterloo

Call (519) 885421’t’ EW 5680 for mure info.

:__,

Fairy Tale of New Bjork to g&s

to jocks

to waifs

and even

your mum, all of whom grew to &&p.,

t::

love the girlish woman with the scaring voice and strange accent. The expectations for the follow up were enutmous, to say the feast. 01 Post, Bjork once again hooks up with producers Graham Massey and the main magi, NelIee Wooper, who was the mastermind behind two of 1989’s best singfes,

by Steve Sobczuk special to Imprknt While Sugarcubes, die co-harts

starting out in the Bjork and her Manlike the unredeemable

this song will be heard in clubs for a lung time to come. The second single and stunfiingly ethereal video for “Isob-el” takes the audience to a private universe where mortals are nut typitally admitted. The only sotig on the record not to be written at all by Bjork is “it’s Uh So Quiet”, &ich features a big band arrangement that showcasesthe dynamic range

Einar, made some of the most

Back To Life and #SeepOn Muvin’

af her tnrly unique voice to great

pretentious, selfnConsciously arty and affected music ofthe late 80’s, It was enough to make a suburban white boy, like myself, inunerse himself in the then burgeoning world of hip-hop, house and other R’n’3 derived forms. Rock’n’roll (or what was left of it), thanks to bands like Bon Jovi, Poison and Whi tesnal&, was left bleeding by the side of the road, often mistaken for dead, The alternative rock of the day seemed largely antiquated, as punk was long since considered dead, You certainly were not supposed to dance to most of it, especially anything with a guitar. By the time of

by the British collective SouI II Soul. These extremely durable ternplates once again form the basis for much of the songs and production

effect. This is the diS& greatest stylistic depame and is quite successM; making me want to hear more, but 1 am not sure 1 would be ready for a full album.

m Post, joining propu1sivc mechanical rhythms to lush, sweeptig acoustjc instruxnentsconveying th?

tached singing,

melodies.

a new approach.

E3jork’s

had enlivened their music with faster tempos so that one could jump around on a dance&or with ease.

Music

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They shouldn’t be able to do this, you know. How many times can one band sit back and glean the same musical influences and stiZ/ come up with something original? How many times can a band write lyrics like “I always feel good when I look at you” and make it sound plausible? How many times can Teenage Fanclub make Bandwagonesque? Well, at least once more would be the answer. The Fannies have always been about cliche, ab&t hearing every great pop song you’ve ever encountered in every song they write, which on paper should sound incredibly derivative, but in practice is joyous. That’s why in 1991 Bandwagonesque was so universally hailed - it was new, fresh music that one could hum instantly because it felt like you’d heard it a thousand times, As for this album, Grand R-ix: is more of a return to straightforward songwriting after the somewhat noodly (though underrated) Thirteen album, and thus the band have gone back to exactly what made

them brilliant in the first place great tunes. And there are plenty of them here, just take your pick from the batch. There’s “Discolite” and “Sparky’s Dream” for harder numhers, “Mellow Doubt” and “Say No” for those in a mellow mood, and the wonderfully worded “Verisimilitude” in between, which has to be the only song in the world with that word as its title. There’s a wonderful harmony that laces itselfthrough ErundPrix, everything from the shared songwriting credits, to the pearling tones of the Fannies’ voices. It all sounds so accomplished and perfeet, a band very sure of itself, which was missing to a degree on Thirteen. Take “Verisimilitude” fur instance; “I don’t need an attitude,” Gerard sings, “rebellion is a platitude/I only hope the verse is good/ I hate verisimilitude.” It’s as if they’re saying that, hey, it’s OK to be a nice guy and write nice tunes with fuzzy Beach Boys melodies and sing about how much you love your girlfriend. It’s their thing, and they do it so well. Just how long Teenage Fanclub can continue to follow the same formula remains to be seen, but it’s obvious here that it still works remarkably well. Fun, gloriously lazy, and to top it all off, Norman recently got rid of that ugly beard what more could you want? ndoubtedly one of the best pop albums of

suited to coo! and de-

1993

sophomore release, Debut, the popular musical landscape had changed dramatically. Madchester had brought dance beats back into the alternative fold and boys with guitars like Black Francis and Kurt

greater

.’

-;~~~ub:;~::

once consid*

ered commercially and aesthetically alternative swamped the mainstream. Debut went on to be a very big hit, filling dancefloors and eventually spawning five singles, which kept it in and out of I-IMV’s top 10 for well over a year. The album developed an unthinkable coalition of fans, from goths

Grant McLenfian could easily get passed over this year with all the hype over Weezer, Live, and other such talents as Veruca Salt. But that’s all it is, hype. When Weezer’s next album is a complete bust, and Better Than Ezra can’t produce another catty tune, McLennan will still be surrounded with a discography to be proud of. Horsebreuker Star is McLennan’s third solo project since fronting Austrailia’s Go-Betweens, and is simply mammoth in size and

The advance single “Army Of Me” &ads off the album with a grind@ metallic tip hop rhythm wMe Bjorkls voice swoops over top and synthesized horn blasts punctuate the melody. This was originally released on the ‘Tank Girl” soundtrack and is not indicative of the rest of the album Unfurtunately

it has nune of the synca-

The song is how-

ever still compelling ;tnd a posi-

tive sign that she is open to trying

As a whale Pos# is a more eclectic

affair than past efforts,

but

seems more disjointed and less c&e&~

The album runs uut of sang by song, However this is not to dismiss this album, not at all, Po+sr ofX&s a valid and satisfj4ng alternative to marble-mouthed and angst-ridden white guys who

steam as its tempas decease

pattedgrace of Debut ‘S first single seemedto have taken over the al“Human Behaviour.” The second ternative realm. track YIyper Ballad” quickly rem Thank goodness Bjurk exists, covers and setsthe tone fur the rest a truly singular artist who follows of the record.

With the proper remti,

scope. Clocking in at over seventy minutes, with eighteen tracks is an ear-full of music, but well worth the time to take in his folk oriented pop songs. The mostly stripped down take at the songs creates the folk element, but also in itselfmakes the music so much more honest and personal to listen to. The love song aspect to Horsebreaker Star is pretty apparent throughmt the collection. Surprisingly, the love songs aren’t dreary, or about heartbreak which are easy enough to dwell upon, as so many have already done. Well, at least he keeps a positive ring to his love song. In “Dropping You” he claims that ” ..the best thing I ever did, was dropping you.” I guess that’s a positive way to put it. Another great inclusion to the

her own unique muse.

by Dewey Oxburger Imprint StafZ

album is McLennan’s use of instruments that you don’t hear a lot of in pop albums like the mandolin, oboe, organ and srings giving those songs a really rich sound. The harmonies he creates with Esta Hill and Syd Straw are comforting and impassioned which really reflects in the music being created. This album might not make too many year end lists only be-

Spirit of the West are a great live band. I’ve seen them nearly a dozen times now, and I’m looking forward to reviewing their concert at Fed Hall during Fruih Week. I have all of their albums, I’ve met the band several times, and I’m a huge fan. Having said all of that, I wasn’t terribly impressed with Two Headed.

cause

it isn’t

surrounded

in hype.

It’s also not a rawk album or one to induce people into bleeching their hair. You won’t even be compelled to get your navel pierced after listening to it. Don’t be bummed out though, long after Weezer’s gone down in flames, Horse&eakerStur will still be brimming with hopeful folky tunes that will remain timeless treasures.

SOTW

started

as a folk

band.

and when listened to in chronological order, you can hear a continuum in their music. From the pure acoustic Celtic music of Tripping Up the Stairs, to the rock-influenced folk uf Save This House, to the folkinfluenced rock of Go Figure, to their current effort, SOTW have continually moved away from their folk roots to mainstream rock, be-

coming progressively more electric with each album. Two Headed, for the most part, represents the worst elements of that trend. The songs aren’t personal, and lack the energy present on earlier successes, such as “Political,” “ Doin’ Quite Alright,” and “Home for a Rest,” There are exceptions. “Mildred,” a song about an underwear inspector, sounds straight out of a Beatles album, and is reminiscent of older SOTW material. The song you’ve probably heard on the radio, “Tell Me What I Think” is outstanding. Overall it is, however, a mediocre album. I should acknowledge, though, that I wasn’t a huge fan of SOTW’s last album Faithlift, at least not until I heard them play the material live. That’s one of the reasons I’m really louking forward to the concert. They always sound better live, and now FaithZ@ is one of my favuurite albums. Maybe Two Headed will also reach that category, but somehow, right now, I have to doubt it.

by Dave

ARTS

Friday, September 1,1995

IMPIXINT,

Fisher

Imprint staff I’m glad I refrained from tossing off a quick review of Bailter Space’s Wammo upon first receiving it because I’d almost certainly have given it a hasty dismissal. I was that disappointed. Unlike their illustrious past (sadly mired in obscurity), the trio appear to have parted a measure from their signature grinding broodiness, adopting something far more cheerie and glistening. On

Wammo you can actually understand some of the lyrics (a first), and the singing actualIy sourids at times like singing. For most bands this would probably be a good thing, but it seems a bit detrimental with Bailter Space, an incomparable band that’s long sounded unlike anybody else. One could argue otherwise of course, in fact even suggesting that the band hasn’t really ever had more than a couple of songs played over and over album-to-album with untold variations in the first place (sorta like the Jesus and Mary Chain). But since their sound has been such a wholly original one, it’s hard to begrudge them. After a decade of sculpting their style (including their previous incarnation The Gordons this is their 8th proper album), it’s become so ingrained that their handtil of fans have gladly come to expect it of them. Sadly, the first listens to Wummo reveal a band rejecting much from their unique past and

by Chris

Aldworth

Imprint st&ff Not having a full album by any of the bands on this soundtrack, I decided to pick up the Hideaway soundtrack and give myself an education in the underworld of industrial music. Hideaway is the first big screen movie to be made fi-om a novel by horror/suspense writer Dean R. Koontz. As a fan of his writing (he blows the doors off Stephen King) I was happy to listen to the music that would accompany the screen translation. While I cannot give you a rundown on how the music fits the movie (I haven’t seen it yet. I hear that it sucks so I’m waiting for it to come to the Frederick or out on video) I can tell you that I like

I3 25

leaning more toward the fey contemporary retro-dross of British bands like Oasis and Blur. This most definitely is not a good thing, Thankfully, many merits are becoming slowly apparent. Wammo is bv no means Bailter Snace’s best record, but it may be their most accessible and still retains much of the rhvthmic pulse and dark texture f r o m

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elude the bass driven “At Five We Drive,” “ D Thing” and the titletrack, whereupon Bailter Space characteristically takes a riff or groove and works it relentlessly over and over, somehow pulling out melodies that grind into your brain for hours thereafter. If these songs can pull new listeners into the back catalogue, it’s a positive. A fistful of other songs are almost equally as good, but, as mentioned, are slightly off-putting and spoiled for me by the newfound clarity in guitarist Alister Parker’s vocals. One assumes that their producers possibly felt the band needed or deserved some radio play and thus cleaned everything up. But in doing so much of the band’s sonic mystery has lost its unique vision. Still a great band, I prefer the dark texture in their indecipherable vocal dissonance, dammit. what I hear. Super tracks by the likes of Godflesh, KMFDM, Die Warzau, Oedipussy and Sister Machine Gun make this a must have for those who like their music loud, heavy and metallic sounding. Fear Factory’s “Scumgrief’ suffers from sheer metal overkill, but tracks by the gothic Miranda Sex Garden, “Cut” and “Peep Show,” add a pleasing female presence to this male dominated soundtrack. Front Line Assembly offer up a nice piece of dark gloomy noise with “Surface Patterns” and Peace Love & Pitbulls (the band with one of the most interesting names on the soundtrack) are pleasantly surprising with “Reverberation Nation.” Normally soundtracks are a throwaway type affair but there is some good stuffhere. Heck, it even convinced me to check out a full album by a number of these bands. Anything that does that can’t be all that bad.

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by SeanDenomey

Imprint staff Bad Company had a string of rock hits in the seventies before producing a string of forgetable albums amidst numerous lineup changes throughout the eighties. Now they’ve come full circle; pulling an AC/DC by grabbing a Paul Rodgers sing-alike and cutting an album that sounds twenty years old. If you’re the kind of person that wears lots of beads and plays Peter

Frampton

records

at three

a.m., you might like this record. Then again, you might also be high as a kite. If you want to hear Bad Company, why bother with a bunch of retreads trying to recapture someone else’s past glory? Pick up one of the original albums with Rodgers at the helm, when Bad Company were in their prime.

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“You don’t want nuttin’ wit’ theB.U.M.S.“(BruthasUndaMadness). This is not to say that you wouldn’t want to listen to them. You would. In fact, you will. This is to say that you just wouldn’t want to test them, in the jam or on the mic. Butta. The B.U.M.S. possess the lyrical butter to make verbs go

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like “Dust Bowl,” the playful “You Happy Puppet,” and “These Are Days.” And even the songs she wrote herselfwould inevitably have some imput from the band; no one can operate in a vacuum. But now two facts have contributed to her new sound - her departure from the Maniacs, and (it must be faced) her increasing age. For on Tiger LiZy we see a kinder, gentler, more sedate Natalie Merchant, one that’s grown up and accepted that she isn’t going to change the world, one that is becoming part ofthe thirtysomething world gracefully. All of which adds up to one thing of course - boring music, and increasingly trite lyrics. The latter

problem is hardest to accept, because in the past Natalie’s biggest strength has been in her deft lyrical turns. Here we get “gee, aren’t I clever?” songs like “San Andreas Fault,” that talks of Hollywood glitz and glamour, and of course the horribly misguided River Phoenix tribute called “River.” “With candles, with flowers,” our former hippie child croons, “he was one of ours/why don’t you let him be” Puh-fuckinglease. Elsewhere, “Carnival” is a catchy enough single to hear on the radio, otherwise it would hold only passing interest at best, “Where I Go” is pleasantly childlike, and “Cowboy Romance” is at least an attempt at the storytelling grace she used to have. Basically the album is so inoffensive that it is offensive, so smooth and produced and airbrushed that all the life it might have had has been sucked dry. In much the same manner as Sting as he got older, Natalie Merchant is slowly mutating into an older, pseudo-profound but really quite vacuous artist. What’s more, no doubt her next album will be even worse as she starts singing about the children of Bosnia or something. Go put on In My Tribe and forget this even exists.

down nice. Spewing out their lyrits under a steady funk flow, this crew manages to keep your ears trying to absorb their every word. Unlike some rappers, who sound nice but piece together unrelated words strictly for effect, the B.U.M.S. are effective and creative. The crew hails from Oakland, California but their style could easily bet them billed as a New York crew. The East coast influence is obvious, with samples of people like Jeru, and Audio Two worked into their rhymes, The group is composed of E-Vocalist and DWyze. Neither can be said to be better that the other. They are both equally as talented and equally mi-

crophone-blessed. The first single released from the album “Elevation (Free My Mind)” is WelLelevating, with its soulful 70’s vibe. Although this may be the song liked by the B.U.M.S., or more likely their record company, 1 personally prefer “Non-Stoppin’ the Groove.‘* It’s definitely a groove you want to get into and fight to get out of 1 You couldn’t consciously press the skip button on your cd player when this track is on. All in all, the album is solid and well produced. Be sure tocheck for it. It’s definitely not one of those one song albums. At least two or three songs will keep you locked in like Jamal on death row.

1994’s Fiie Under: Eclsy Listening (or FUEL for short.) The first track, “Needle Hits E,” encompasses the poppy spirit of most Sugar tunes. Characterized by the meandering guitar work of ex-Husker Du man Bob Mould, the song incites the toe-tapping response that previous songs, such as Copper Blue’s “Changes” or “Hoover Dam” encouraged. While many of the songs travel in this vein, Sugar’s more serious offerings are well-represented and give the album more impact. A live version of “JC Auto,” fromBe&er, could be argued as the most intense track on the album. If not that, then a live performance of FUEL’s “Explvdc ilncl M&c Up” GO-Id take its place. Seven of the tracks are live, and show how vital this vehicle is to the Sugar philosophy. Another highlight of the collection is the number of songs written by bass player David Barbe, who usually plays second-fiddle to the more-established Mould. Four of Barbe’s songs are featured, two

of which, “Where Diamonds Are Halos” and “Anyone,” are actually songs by Buzz Hungry, Barbe’s other current band, but are regular staples of Sugar’s live shows. A noticeable absence on the album are the Sugar songs recorded off a series of UK radio sessions. ‘Given the amount of live tracks provided, though, their omission is both understandable and forgivable. Ifthere was any doubt as to the merit of this release, the live disc included in the first 25 000 copies should wipe it away. Realizing they had to include something for those Sugar fans who have all the bsides and rarities already, the band decided to include a 6minute live performance, recorded hst November in Minneapolis (just one week before their performance at Fed Hall.) With this “freebie” included, the collection contains over 135 minutes of music. It’s hard to criticiqe that. These 135 minutes effectively capture the Sugar philosophy, and could quickly become a favourite album for anyone.

Krafchick staff

In the summer of ‘93, when it was announced that Natalie Merchant was to leave the 10 000 Maniacs, it was self-evident that the band was finished, for the simple reason that Natalie was the band. Where would they be without her? Now it’s the summer of ‘95, and with the release of Tiger Lily, it’s equally self-evident that, though the main shaping influence in the group, Natalie needs her Maniacs as much as they need her. Thinking back we shouid have seen this weak collection of AOR boredom coming a mile away. The Maniacs first two albums The Wishing Chair and In My Tribe were brimming with the sort of anarchovegan-change-the-world-with-asong that dwelt in the heart of the young Ms. Merchant. But always there was the stoic Robert Buck, who provided the tunes that suited these sentiments so well, giving Natalie some brilliant tunes to spin and dance gayily to. This team was most perfectly realized on the beautiful In n/ru Tribe (the best folk-rock album of the past ten years, as far as I’m concerned) but all of the Maniac’s albums benefitted from this pairing, notable on so many songs

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by Jason Gropp special to Imprint Sugar does not take a conventional approach to choosing b-sides. Any die-hard Sugar fanatic will tell you that many of their most popular songs can be found on single releases. It makes one wonder how they choose what goes on a major release and what does not. Sugar’s latest release, which follows two full-length albums and an EP and is their fourth release since 1992, pulls togerher these scattered offerings into an impressive collection that gives the listener a good taste of what the three-piece outfit can offer. Seven of the seventeen tracks come from the 1992 Copper Blue era, while one comes from the 1993 Beaster period. The other nine offerings can be found on the three singles released from

Friday, September 1,1995

IMPRINT,

by Brad Imprint

Friday, September 1, 1995

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the shady one on the cover (probably having to do with his incredible weight-loss.) This album is a return to Earle’s days as a pure country artist. While he did provide some excitement as he straddled the line between country and hard rock it overshadowed

the fact that Earle can write some dam good songs. “Angel is the Devil” and “Mystery Train Part II” are simple but bury the needle on the Catchy-OMeter (tm). Earle, as always, is at his best when telling a tale with his songs. This album showcases three such tunes and they rank right up there with his best ever. “Mercenary Song” and “Ben McCullough” are excellent but it’s the amazing “Torn Ames’ Prayer” that really stands out. The theme of this song perfectly mirrors Earle’s own life. This is made incredibly eerie, considering the song was written in 1975. Train a Comin ‘is a great showcase for Earle’s talent and it is a very solid resurrection for his career.

Receiving” is one of the only interesting selections here. “Follow the Leaders,” from the beat-heavy .What ‘s This For. . .! is presented in Dub form, thus weakening the track (not one of the best from the album) even further. “Sun Goes Down” is a weak b-side, rounding out Killing Joke’s “early period.” Of the remaining ten tracks, the three singles, “Me or You,” “Wilti Days” and “A New Day” are the only really valuable selections. None of them are available on any of the Joke’s albums, and so their appearance here is welcome. Nighttime, the band’s most commercially successful atbum (depending on the success of Pundemonium) is represented by three tracks, including a redundant remix of “Love Like Blood” and that track’s audio twin, “The Madding Crowd.” One obvious and notable omission is “Blue Leaf’ - the in-

credibly hard to find (not to mention expensive) b-side of the “Love Like Blood” single. Ofthe remixes, the “Serious Dance Mix” of “Eighties” isn’t an improvement on the original, but then it’s not worse than the original either. Rounding out the selection is the “Re-evolution mix” of “Change,” again, no improvement on the original and remixes of “America” and “Ecstacy” - two shitty songs from Killing Joke’s two shitty albums. If any care whatsoever had been taken in choosing the selections here, Caroline would have focussed more on singles, and eschewed the needless remixes. Killing Joke have more than enough material to introduce the newcomer to their work. It’s really a shame that this compilation doesn’t tilfil that fi.mction.

feet timing, no spontaneity, no feeling, too predictable. Baldry does possess a great voice, and breaks out in the occasional great guitar tiff, but these traits do not demonstrate themselves often enough. The CDs do hint at the explosive potential a Baldry live show has, but aren’t worth their cost. Don’t buy it.

“Suzanne,” one of my favourite Cohen songs. The CD certainly has some amazing high points. I was pleasantly surprised to actually like a Don Henley song - his cover of “Everybody Knows” is outstanding, as is Willie Nelson’s cover of “Bird on a Wire,” and Tori Amos’s version of‘Famous Blue Raincoat,” another Cohen classic. I wasn’t expecting this. Billy Joel does a passable cover of “Light as the Breeze” which doesn’t stray too far from the original. Peter Gabriel turns “Suzanne” inside-out, and 1haven’t quite gotten my head around whether or not I like it yet. On the disappointing end, however, Bono absolutely ticking ruins one ofcohen’s best songs, “Hallelujah,” by turning it into a monstrosity dominated by rap and wails. Elton John’s version of “I’m Your Man” somehow reminds me of his bastardization of”Saturday Night’s Ahight for Fightin’.” Worst of all, however, was Aaron Neville’s rendit ion of “Ain’t No Cure for Love.” Hey, Aaron, could you add more vibrato to your voice? Please? All in all, this is a CD worth purchasing - if you’re a Leonard Cohen fan and you’re not a purist as described above. As I discovered the night before writing this review, even the bad songs are worth listening to with friends: it gives you something to complain about.

Hughes staff

This album is not only supposed to make or break Earle’s career but also his life. After almost five years of inactivity and a serious drug addiction (which was agonizingly detailed in Spin magazine earlier this year) Earle returns to the recording studio for his last chance in the music biz. Train a Comin ’ isn’t the masterpiece he desires but it does more than enough to reestablish Earle’s reputation as a songwriter of note. Earle has scuttled his bad-ass outlaw attitude and image. Gone are the skulls and crossbones, the camouflage, and the sneer. The only photo of Earle to be found is

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by Sandy Atwal special to Imprint Rule #666 of music marketing: When a band with a substantial back catalogue finally release a commercially successful album, scour their other releases and hastily throw together a compilation. Note: Pick an incompetent with no real knowledge of the band’s history to choose the tracks. This is Killing Joke’s second compilation, and what a ticking mess it is. This really makes absolutely no sense whatsoever. Redundant remixes, and a few relatively hard to find singles are somehow supposed to represent Killing Joke. Their first track, “Are You

by Dewey Oxburger Imprint Staff Long John Baldry has a long history as a recording artist. Many “dinosaurs” of music name him as an influence, including MickJagger, Elton John, Jack Bruce (formerly of Cream), and Rod Stewart. In fact, Eric Clapton acknowledges buying his first guitar after seeing Baldry live. A Thrill ‘.sd Thrill pretty much covers his career after abandoning the United Kingdom (it was in the doldrums according to Baldry), and rejecting American citizenship (“But you can’t breathe!“) There are some very good moments on this double-CD. Bald@ versions of “Morning Dew” and “The Sun Ain’t Gonna Shine Any More” aren’t adventurous, but they are solid, and sound fresh enough considering their age. His duet with Kathi McDonald on “You’ve Lost That Loving Feeling” is...different. The vocals sound like Barry White and Kim Carries. It’s good, but mostly it’s different. I wish that I could say,this is a great pair of CDs, but it’s not. The truth is that it sounds too corporate. Excellent production values, per-

ARTS

by Dewey Oxburger Imprint staff There are some purists out there, I’ve discovered, who view this album as a form of obscene blasphemy. The idea of Don Henley being allowed to do a Leonard Cohen cover is repulsive to them; likewise the idea of Elton John. If you fall into this category, you won’t like Tower of Song. If, however, you like clever reinterpretations of solid songwriting, this CD may be for you. I wasn’t sure what I would think of this album when I purchased it: I’ve never been a fan of Don Henley, nor of Trisha YeaIwood - I was, however, looking fomard to hearing Sting and the Chieftains play together, and to hearing Peter Gabriel cover

I3 27

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B 28 striped shirts, shor-tlycropped hair, and pumas. in response to this, many artists have desperately attempted to distinguish themselves by being as eclectic aspossible. This has often been mistaken as creativity, and is the cause of the maelstrom of confusing subgenre names that keep popping up. Fortunately, Mouse on Mars have avoided this -trend _- and _produced a Mouse

byKiyanAzarbar special

to Imprint

No longer seen as geeky, closeted, technolosers who compose from their bedrooms, ambient techno artists have become recognised. Parasitically attaching itself to the likes of several successful ensembles such as the Orb, Aphex Twin, and Future Sound of London as well as the entire rave culture phenomenon, ambient has become a buzzword du jour. The unfortunate side effect of this is that popularity begs imitation, and imitation is so easy to sell to little kids with baggy pants,

on Mars’

first

direction to the music, however faint it may be. “Frosch” is a happy, skittery, fresh introduction to the album. It is followed by the inherent dubbiness of “Elli Im Wunderland.” This last fades into “Uah,” a completely wasted effort of didgeridoo and a rambling, droning bassline. The travesty is saved by the next track, “Chagrin,” with its beautifully understated gloom, carried almost entirely by an ever-present bouncing bass note that sounds exactly like what I’d expect rain to sound like on a rooftop, were the raindrops to mutate to the size of televisions. The minimalism is most evident here, with only several melodies present at once and simple, distorted vocal support. “Future Dub” continues with a 303-influenced analog slant overtop the increasingly familiar dub groove. “Die Seele von Brian Wilson” rehashes the didgeridoo and drones for eight minutes, to lead into “Katang” -a playful, promising, Kraftwerk-influenced offering which quickly loses direction and melts away into eleven minutes of stupidity in which nothing much happens. Apart from “Chagrin,” which in my opinion is by itself worth the price of the CD, Vulvaland can be best appreciated while driving in the rain, trying to fall asleep, or any other activity which focuses attention away from the music. This, I am sure, was the intent.

full-

leased in mid-1994 on Too Pure. Rumour has it that the German ensemble sent a gift-wrapped tape of experimental material to Stereolab as a token of appreciation from faithful fans. Stereolab enjoyed the tape to such an extent that they were instrumental in making labelmates out of Mouse on Mars. The album is in the German style of minimal textures supported by a consistent, lazy beat, much in the style of Deep Space Network. With the exception of perhaps Oliver Lieb (the maniac behind Spicelab), the Germans have taken a much more accessible, musical approach to ambient techno, There is almost always a subtle beat and

If you’re a fan iike me, you don’t immediately run to the record store every time one of your favourite bands makes a cameo. In

“Angry Again” (from The Last Action Hero OST) “99 Ways to Die” (The Beavis and Butthead Experience) and “Go To Well” (Bill & Ted’s Bogus Journey) are killer tunes with enough commercial appeal to serve as a reasonable introduction to the band. The eight track CD also includes covers of the Black Sabbath classic “Paranoid,” and The Sex Pistols’ “Problems.” Conspicuous in its absence is the recent b-side “Crown of Worms,” but inclusion of “Diadems” (Demon Knight OST) more than makes up for it. The cover and insert of the CD include a reference to the unofficial Megadeth world wide web site,Megadeth, Arizona (http://caPrec.com/). It’s a well organized site that includes a lot of useful items about the band, a -somewhat uncommon trait of web sites. Definitely worth a try, as is Hidden Treasures.

Denomey

by Sean Imprint

staff

Hidden Treasures is a collection of previously released material the band has recorded over the years for various soundtracks and compilations. At their recent Toronto show, Dave Mustaine commented that the release of this collection was in response to fans’ complaints that in order to complete their collections, they had to buy records “full of other bands’ shit ” So a release that on the surface seems to be a cash-grab was in fact recorded for the fans. Whether you believe that or not is secondary to the fact that this is an excellent collection of some of the best songs Megadeth have written. l

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Megadeth’s case, doing so would probably put you in the poorhouse, so this CD is definitely a worthwhile investment. For those unfamiliar with the band, tracks such as

Hughes staff

Somewhere along the line this band really fucked up. Their debut, The Brown Album, was a great debut. They were at their best when their dark sides overtook them. A number of songs were these evil mixes of funk, dance and metal. It sounded different and it really worked. Unfortunately the song off that album which hit with the public was a cover of Hot Chocolate’s “Everyone’s a Winner.” Since then they’ve decided that funky poprock was the way to go. This album reeks of desperation. Their last album, Sleeping Bootie, bombed bigger than the Edsel. In order to redeem themselves it appears as if they’re attempting to get a hit quick. They last charted with “Love Monkey #9.” Naturally they’ve decided to remake this song about 10 times on this album. Needless to say this album isn’t very good. Their songwriting formula doesn’t change much during the

I, f 995

album. They start by turning on a drum machine and finding an appropriate dance beat. Then they lay down some funky guitar and bass overtop. They add heavier riffs for some hard-edged excitement and then Drew Ling comes up with some supposedly dark comic lyrics. For the icing on the cake they always make sure to add those annoying harmonies during the chorus. Most of the songs sound like they employ this simple algorithm. It annoys me to no end that a band that had some promise would completely lose its artistic vision. The only song that breaks from this formula is “So Real” which is an overwrought ballad that sounds like it should be some Andrew Lloyd Webber classic. There are some obvious arty pretensions with some of the sound effects they employ. There are buried vocals and strings and horns and sound bites. Each of them sound weak. As with almost all popular music once you consciously decide on doing something arty it is doomed to failure. There just seems to be nothing at all sincere about this recording. They were far better when they were dark and dirty. Now it’s just funk with no soul.

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also have bite in “Dancing in the Sunshine of the Dark”, a sombre song about a murderer about to die, “five steps to the gallowiand a di.,_..:....1,.‘.,:;+.; ,::<,.“.::::. ..‘.:““. .‘.‘,,, . .. ‘; ::i ,.,,. .i~, ::. >’ ‘::::: .,;;..:_ :i:;i:~~~~~~~~~~~~~i~~~: $i’:$:$ rect slide to hell/enjoy your last .&._ .E:’ ,p .::,.;.<: iif:, ..j:I,:‘.::-_. ,:. ~~,.~~~~~~~~~~~~~~ $:l“$ ;: g&’ ..._,:::;._.;:-i: you leave ,.,_’ .’ :.:>._.‘. ,..,__,, ‘..:,:_,,._,, ,’ ‘. .... .‘. :...‘.:‘..‘:I:.‘....:::.: steps in the light/before .y.,,*..:.._,_._ __.,.: _;,: __._ 1.1, _,,,,.I .Y-:‘..::Z. .‘.‘.,.. .,._::,., _.,,:.,. ,:,_.: ...::.,:. .::.j.A R&f&: <:i.:,:+2; ‘:‘li.‘~~~‘iili::‘li::::the cell.” .: :‘.: .i._... :.,:.::c .:;::. .:.‘:I> ..:: ..::,: ,” 1. . .,: .._5-,... ,,y,i:‘.:if;: i. ..i.. ..““.’c:.: ‘...” “’ .:. : ‘j_’ ._i: .;.,.:. “Hello and Goodbye” uses a slow beat and calm ballad vocals, to by Alexander Wavrlant Imprint staff create a beautifully rendered song using standard rock chords combined with words dealing with loss The German group, Fury in the of friendship and difficulty of findSlaughterhouse, have released a solid rock album with tracks that are well mixed, musitally intricate and lyrically interesting. The album starts off with “Kiss the Judas” which uses a well-executed synthesizer introduction, followed by some choppy guitar chords which are Iaid down a fimky beat. The full sound for chorus vocals is encompassed and broken up by piano chords and sofi synthesized percussion. The acoustic guitar intro to the second track “Your Love Won’t Take Me Anywhere” is complimented by banjo and violin in a very country ing true friends. “Stay Clean These style .music structure, when even Days” deals with hunger and drug the lead vocalist is exclaiming a abuse but is truly effective in the “j ippee yo jippeeyay.” The upbeat simpleness of the tune. “Milk and music is in stark contrast to sorrowHoney” uses an upbeat tune, in conful lyrics about love. The lyrics trasting the expression of the liner

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ARTS

Friday, September 1,1995

Hughes staff

This album is one those “six out of tens.” It’s better than your average music, but it doesn’t stack up to great stuff.

Contrary to the title there are only 10 tracks on this release and they clock in at an amazingly short 23 minutes. The songs are generally 2 minute blasts of powerful pop. “California” is the only tune to really stand out in the crowd. Both “Jiffy Boy” and “Knot” are excellent acoustic numbers, but the rest don’t leave much of an impression. The band looks to have a fu-

notes which state, “we’re worrying ‘bout our little daily problems and while we sleep in our luxury beds, the world is running out of control.” bDown There” with its space countdown intro, deals with an astronaut’s search for another planet as the earth burns up in flames. “Rainy April Day” is interesting in that it is dedicated to the daughter of Kurt Cobain. By featuring acoustic guitar and cello in delivering lyrics which grope to come up with an answer to why, the song highlights the impact of his death on those around him and a discrete whisper “you are a loser” at the end of the second verse perversely puts the blame on Kurt for his daughter’s future suffering. From a straight cover of “Next to You,” a Police classic, sarcastically noted “the only kind of police I like” to “Ghostown” which is dedicated to a daughter of one band member and written in Rhyoiite ghosttown, Nevada (featuring a full string arrangement as background) this is a solid album and a creative take on the rock sound. Hopefully the North American audiences will begin to appreciate this band as much as their German counterparts.

B 29

ture due to their connections though. This album was recorded at the ultra-cool Fort Apache Studio in Boston and Spike Jonze directed their amazing video for “California.” Hopefully they can flesh out their ideas into longer songs because their talent is apparent. The problem is they haven’t given themselves the adequate time to show it off.

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IMPFUNT, Friday, September 1, 1995 they did in ‘89 and ‘90, name ONE band on Silvertone that’s shifted even a thousandth of the units they have ...o.k.. time’s up the answer is...NONE! Ha ha! As a result, the collective greed at said record company have once again set up the stool beneath their biggest cash cows. Oh how the beast screams in pain as its udder is prod.,,. _.>.A . ..C :.:.: _3_, ded once again for gg,; !; ~~~~~~~~~.ffrtrs~~~: j; I; more of that melodious magic, the ;::I,:.,,~~~:.~~~~~~~ ~~~~~~~~~i .f.‘;;; .___:_. ,. .A: : I._. 1 :.::. ‘. :.:;: ‘::: .:,::.:.>..:I ‘::::“.;‘ji ,j.: ‘. genius tunes that launched a thou... . .:. ‘.” :,g~~~fj~~fg: .j’ ~~~,~$$?@ sand R&i caps. If the Sex Pistols :...+:: ;-‘. A.*.’ .:“...:‘,:‘.‘._..,.. ‘:. y.:~:;. ,__i........,. ,.; _.,._ :..k.:::y:i’> had their Fiogging a Dead Horse by Greg K&chick then this is the Roses Milking a Imprint staff Dead (Cash) Cow. The drawing card this time is I never thought I’d ever say the inclusion of the band’s fair to this about this band, but PLEASE good early days - their first single DON’T BUY THIS!!!!! “So Young” is the most obscure Since the Stone Roses ascended find here - but the only fans who to those stratospheric heights that would really care enough to own ... _’ .i . _.. .. ., :,::.>.:,.::.:...,. .‘. .:,,.,.:::.:‘~~ .. 1 .,., <,.,: ._ .i ,_....,.. 1.: : ~~~ld,.D~~~,~~::~:~~~,I;~~ .$ ‘.. .‘. .. : .. ‘1. ., : : ,.,__. ,,:,:.,. :_,.. . . . . ._.,. . .._ .:_ 1 ., :_. . . . . . . ...:.; .::. ,::, z::.., ‘;:: .:. _.. ,.,.. _,.: ,._.,:..:..:.. .,..‘..... 1.. :j$y&#&.j+ :‘:fy:~ ‘.i:l’:;;;,y.;‘:“, ‘.:;. .: _:....:.. ::.: ;,, ::::.‘.:,‘. . .. ‘y;>.f ‘:::.’: ...,., i.. :,, .... :,I’...!...,,:i,‘.i.&.&orgQ .:.A .: A... ;: .: :. . . : -. .._ ‘:..: YI:‘:,,:.:_: by Brad Imprint

Hughes staff

Field Day is the latest 3-piece band to enter into the

pop punk

alists this band hails Calgary. Unfortunately, after listening to this album I have officially grown tired of the commercial punk of this decade.

from

year groups like Face to Face, The Muffs, Goodbye Harry, and Gas Huffer have put out albums that I are just as good as Day’s Dookie but

that spark anymore. The music is becoming bland. I’m beginning to long for the days when punk music scared the bejesus out of the majority of the population. Field Day has produced a completely ordinary album. It might have been interesting had it come out about a year ago but it is now jLst another album in the rack. The album opens with a nice piece of ear candy “Enough For Two.” It has some good energy to it and you can’t help but sing along. Ten songs later “Deliver Me” finally matches the liveliness of the opener. Everything inbetween is stagnant and drab. There is nothing wondrous about the musicianship either. Bassist Jonas Smith has some good runs but

The problem is now there is a huge number of bands playing the same genre. The music remains catchy and energetic but it doesn’t have

While the album is competent there is nothing here worth noting. There are far better pop punk atbums to buy.

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at all. The guitars garner the most attention - strong and raw. The vocals had me thinking about Archers of Loaf (in style, though not content) with a dry, rusty feel to them; a little - dare I say it? - angst ridden. These comparisons aren’t to say that this band dosen’t have a style all their own, in fact they do, one that is consistent throughout the whole (somewhat short)

by Sandic Edwards Imprint staff Right from the first track on in, I quickly guessed this album would

Annie

are ex-

say that with a smile on my face because t is a super album. The band are quite reminiscent of Pavement (circa Cruoked RaiPz) and that certainly isn’t a bad thing * L Q I”. 3 , . : ‘,.1,. I!‘Z ‘I ,I

assembled a great piece of work here, definitely worth repeated listenings. I’ll keep my fingers crossed for a local live date soon... =.’

Ij- .^ ,

3*‘**

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B 31

this stuff have long since bought it all on import (“Sally Cinnamon,” the “Elephant Stone” b-sides.) After that all the tracks that aren’t included on the album proper can already be found on Turns Into Stone. To make matters even worse, most of the singles like “Fools Gold, ” “I Am the Resurrection,” and even “Waterfall,” instead of playing out properly, have been butchered into ‘“Radio Edits” that sound so incredibly crap. I mean, chopping the second part of “. .. Resurrection” is liking cutting out the %a-na-na”s in “Hey Jude” - blasphemy, in other words. So then the question becomes...what is the point, beyond the almighty dollar, behind this piece of shit? . ..o.k.. time’s up, and the answer once again is...NONE. A-ha-ha-ha-ha. No doubt there will be Roses completists in the world (and we all know at least one) that will rush right out and spend $20 to get “So Young” to finish their collection. If you see any, hit them, they deserve it, Record company bullshit like this needs to be stopped in its tracks.

Radm /hacKi Westmount

by Chris Imprint

Place

Atdworth staff

Something old, something new, something borrowed, something blue. Add to that something live and that old wedding saying certainly sums up New Boy, the Connells new six song EP. Courting new fans while tying over otd ones in the -process, the Connells serve up a mixed bag of some great stuff. Acting as an interim bridge between albums as well a link to their lengthy recording career, New Boy serves “as a fine package for those who wish to get acquainted with this lot of tuneful Georgians. With five @eat albums under their belt, it is surprising that more people have not heard of the Connetls. Originally slotted as a collectors treat for longtime fans this piece meal compilation of odds and ends is now serving as an introduction to the masses. New tracks “Logan Street” and “Wonder Why” are simply more examples of what makes these guys so great. Flawless harmonies, catchy guitar hooks and a style combining the best of past rock and roll greats like Dylan, the. Beatles, the Byrds and Tom Petty breed a brand of rock with a strong sense of the future. Placed alongside the two new tracks are “New Boy” a hidden gem from 1994’s Ring and a cover of Jethro Tull’s “Living In The Past.‘* The fresh sounding nature of the Connells keeps them clear of the retro tag despite some fine tips ‘o the hat to past stars. Rounding out the album are a splendid live version of the title track from 199 l’s Fun & Games and an unfortunately redundant live version of the aforementioned “New Boy.” Combining the vocals harmonies and a strong sense of melody with the pop sensibilities of Big Star and the artistic integrity of the Beatles, the Connells are tops in my books. Part Southern rock, part 60s British pop the Connells are indeec! a band who deserves their due.

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,:.,. _.._,. :’ .‘:‘I:...I ‘I.,,‘:.;;,:; ,.L, .,,,,:,... ,:+::..: ,.i... __, 1.’_. ,,Kyixsg, :.=gY&g&y&.~f&.& .~&$.& ggg.g::~; _., :, ..i. .. .._ .’ _..~x-~k~:,:‘:,,:.I:,:.,~ :.,, :‘::.;: ., ... %. ._: : . : :.. : :,.: _.: : ..,.: .., by Sean Denomey Imprint staff This is the fourth release for Kyuss, a band whose albums have received critical acclaim in the past

B 33

ARTS

Friday, September 1, 1995 commercial

suc-

cess.. ...And the Circus Leaves Town is an impressive record unfortunately destined for the same fate. Kyuss has a sound all their own. The first thing the listener notices is the vocal mix, which makes for overpowering music on most tracks. This is the only disappointment of the album; that a guy like John Garcia who is obviously one of the better singers on the scene, gets mixed into the background instead of allowing his James Hetfield-esque vocals to come through. However, after a few plays the undeniable strength of the music gives the listener a touch of amnesia, as the mix suddenly works, and works well. This is especially the case with the powerful “El Rodeo,” a song that seems to command the listener to clench

their fists and teeth and repeatedly

bang their head off the nearest wall, Throughout the album, Kyuss demonstrate unique song constructions that prove once and for all that there is more to rock n’ roll than verseverse-chorus-verse-chorus-soloverse-chorus-repeat. This combined with excellent musicianship makes for a disc more addictive than nicotine, heroin, and Sega Saturn combined. While showing strong heavy metal roots, Kyuss lack the screaming lead guitars that are standard equipment for most metal acts. The band sounds incredibly calm and humble, in sharp contrast to a band such as Pantera, who place more importance on a tough-guy image than making quality music (listen to Far Beyond Driven for an example). If you’ve got fifteen bucks and aren’t afraid to experiment, this is a cool disc to take a chance on. If albums wore shades,Circus’d wear Oakleys.

W.O.MitchelI Robert Bateman Peter Gzowski Don Harmon Timothy Fin&y Jean Little David Suzuki Peter Newman John lting Margaret tisser Dennis Lee Jay Ingram Nino Ricci Paul Qutington Jane Urquhart all tbese people have been to Words Worth Linda McQuaig Eric McConnack Stuart McLean Margaret Atwood Michelle Landsburg Robertson Da& Arthur Black RusseIl Smith Edna Staebler Sandra Birdsell Mel Hurtig k Marjorie Harris M.G.Vassanji Witold Rybcyznski Edward Greenspan Susan Musgrave WDYalgaardson have you? simply the best SeieEtionof bo0ks in K-W plusmagazines,music, cards, bod;sm-Lape IO0 King St. South. Watctloo U’irterbo ToNn Squrtrc 9lo9 w~~~s.9lo~saL. lZto5scn

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sic as incredibly unique and extremely fun. The most distinct feature of Bob Snider is his voice. His voice hits you right away and your first impression is well, maybe he’s faking it. He’s not. Bob Snider’s voice is the type you could say is so bad it’s good - how’s that for a definition? The album is an upper. It’s the type of album you put on and your roommates come in and say: “What the hell are you listening to?” and your response is to crank it louder, sing louder, and remind everybody that you don’t have an exam the next day. His songs range from simple acoustic tunes, “Parkette,” bluesy rock chants, “Rejection Blues,“and

by Greg Imprint

Stephens staff

I first heard Bob Snider a couple of weeks ago on CFNY 102.1 FM, Toronto. He played a couple of songsunyluggedand talked about his new al bum. My first impression of this Canadian Folk Singer was “Is this guy for real?” I’ve never heard a voice so original as his. 1 would describe Bob Snider’s mu-

some country

and west-

ern twang, “What I Don’t Know (Is Hurting Me).” “If I Sang It Pretty” sounds very much like Cat Stevens; “They Oughtta Bottle Friday Night” reminds me of Stompin’ Tom’s “Sudbury Saturday Night,” while it pokes accurate fim at small town Ontario: “the only law that gets respect is hats off at the Legion.” Cuterwaul & Doggerel is not an album that will iive in my CD player but it is something that will be pulled out on crazy hyper days when I really want to bug somebody.

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D*note represent one of only a handful of jungle bands that have been released this side of the Atlantic. They once leaned heavier into jazz dabblings, and it’s that background and influence that makes this reIease basically interesting. They also have a penchant for Massive Attack, which gives the odd result of jungle (at 130 b.p.m. or whatever) for the mellow listener. Like many other techno and jungle artists, the band put in their two cents worth on the Criminal Justice Act in England, a law that seeks to stamp the rave culture over there. The lead track “Criminal Justice” talks of the “Government” and how “dem a treat we like we a no human” (those are the words in the lyric sheet anyhow). Other tracks slip into more of a soul groove, such as”Solomon’s Blade,” but in these instances the album loses some of its charm. Basically it maintains its originality when it hits a jungle sort of velocity, while other tracks that mire themselves in jazz don’t work as well. , Full marks for trying, though Massive Attack is still a better buy.

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Friday, September

1, 1995

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Ask any local performer from this region’s musical community about the difficulty of getting a foothold in their chosen profession, and you’ll probably hear a variety of stories, most of them sorry ones. There’s the dearth of reasonable sized venues to play, disinterested commercial radio, the cynical and fickle mud-slinging of the local media (this paper has long been one of the worst offenders), and record companies in Toronto who consider the area a cultural backwater. For local musicians, getting work and respect in their own backyards is a pronounced struggle. Jumping both feet first into the fray is Shannon Lyon, the former frontman for Strange Days and now impresario of Swallow Records. Nobody else was banging down the doors of Kitchener-Waterloo talent, so in purest DIY spirit Lyon has decided to create his own record label. The label has slowly started gathering momentum and Buffalo whiteis Lyon’s own first release on the label (Swallow already having releasedanumberofotherprojects). The Pop Explosion as it now stands is a full-fledged permanent band, but during the making of this CD it appears the group was basically a Shannon Lyon solo project with guests. As such, the songs come off as much more personal than Strange Days material or the small set presented at his labels’ CD Release Party half-a-year ago. Of the five songs Lyon’s Ex-

service

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plosion played on that night, none of which I’d ever heard, I seem to recall at least four of them being really great, hard driving numbers with lots of excitement in the melody, and a continuation of the direction Strange Days was evolving. That band had in their early days possessed a really tight and muscular sound much like the Tragically Hip, especially in the patented rhythms, but in later days had grown to experiment and play with their sound, distancing themselves from Kingston’s finest and at the same time getting even harder. But just when they were getting their most adventurous, everything fell apart. brie of the songs on Bu$5zlo White, “Macho Nation,” was actually the working title of the aborted Strange Days album. The song is perhaps the best indicator of the electric direction Lyon was taking in Strange Days ill-fated last strange days and the new material I saw performed live. It’s a strong and eerily sympathetic track, somewhat reminiscent of recent Sebadoh, and hopefUlly one Lyon will continue to mine in the future. That track is mostly a departure from the rest of BuSfaio White though, with the bulk of the material comprising slower and more

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acoustic numbers akin to the lighter melodic ballads ofNeil Young, Lou Barlow or the Meat Puppets. As such, much of the CD will probably find an audience vastly different from that of his Strange Days fans, then again this material is perfect for those who want to get a little closer inside Lyon’s head. Moreover, it reveals the dual nature of Lyon’s style. He’s obviously been long indebted to Neil Young, and like Young, Lyon likes to lay down both the hard stuff and the more sensitive. BujJ~lo White is mostly the latter, but occasionally hints toward the former and what appears are his titure prospects.

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Wednesday, Sept. &I995 Dana Porter Library and Davis Centre Library Tours: attend a Library Tour and you c&Id win a VendaCard worth $10. iouc guides will point out services and facilities available for your use in the Library, Meet at the Information Desk, 11:30am, I :30 pm,2:30pm. University Map and Design Library Tour (ESI , rm 246): attend a Library Tour and you could win a VendaCard worth $10. Tour guides will point out services and facilities available for your use in the Library. Meet at the Public Services Desk, IO:30 am and 2130 pm. Thursday, Sept. 7,1995 Dana Porter Library and Davis Centre Library Tours: attend a Library Tour and you could win a VendaCard worth $10. Tour guides will point out services and facilities available for your use in the Library. Meet at the Information Desk, 10:30am, I:30 pm, 2:30 pm. University Map and Design Library Tour (ESl,rm 246): attend a Library Tour and you could win a VendaCard worth $10. Tour guides will point out services and facilities available for your use in the Library. Meet at the Public Services Desk, iO:30 am and 2:30 pm. International Student Orientation: a workshop designed especially for International Students. Meet at the information Desk. Dana Porter Librarv. 3:00 Drn. Friday, Sept. 8, 1995 Dana Porter Library and Davis Centre Library Tours: attend a Library Tour and you could win a VendaCard worth $10. Tour guides will point out services and facilities availabfe for your use in the Library Meet at the Information Desk, IO:30 am. II:30 am. 1130 om. University Map and Design Library Tour (ESI, rm 246): attend a Library Tour and you could win a VendaCard worth $10. Tour guides will point out services and facilities available for your use in the Library. Meet at the Public Services Desk. IO:30 am and 2:30 om. Monday, Sept. tl,l995 Dana Porter Library and Davis Centre Library Tours: attend a Library Tour and you could win a VendaCard worth $10. Tour guides will point out services and facilities available for vour use in the Library. Meet at the lniormation Desk, 10:30*am and I:30 pm. University Map and Design Library Tour (ESI, rm 246): attend a Library Tour and you could win a VendaCard worth $10. Tour guides will point out services and facilities available for your use in the Library. Meet at the Public Services Desk, IO:30 am. Tuesday, Sept. 12,1995 Dana Porter Library and Davis Centre Library Tours: attend a Library Tour and you could win a VendaCard worth $10. Tour guides will point out services and facilities available for your use in the Libraw. Meet at the Information Desk, 11:30-am and 2:30 pm. University Map and Design Library Tour (ESI, rm 246): attend a Library Tour and you could win a VendaCard worth $10. Tour guides will point out services and facilities available for your use in the Library. Meet at the Public Senrices Desk. 2:30 om. Information forGraduate Students: Learn about facilities and senrices that will make your library research more effective, such as computerized searching, extended loans, direct borrowing priileges from other academic libraries, etc. Meet at the Information Desk, Davis Centre Library, I:30 pm. Wednesday, Sept. 13,1995 Dana Porter Library and Davis Centre Library Tours: attend a Library Tour and you could win a VendaCard worth $10. Tour

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Thursday, Sept. 14,199s Dana Porter Library and Davis Centre Library Tours: attend a Library Tour and you could win a VendaCard worth $10. Tour guides will point out services and facilities for your use in the Library. Meet at the information Desk, lo:30 am and University Map and Design Library Tour (ESI, rm 246): attend a Library Tour and you could win a VendaCard worth $10. Tour guides will point out services and facilities available for your use in the Library. Meet at the Public Services Desk, 2:30 pm. Friday, Sept. 15, 1995 Dana Porter Library and Davis Centre Library Tours: attend a Library Tour and ou could win a VendaCard worth $10. r our guides will point out services and facilities available for your use in the Library. Meet at the Information Desk, lo:30 am and 11:30 am. University Map and Design Library Tour (ESI, rm 246): attend a Library Tour and you could win a VendaCard worth $10. Tour guides will point out services and facilities available for your use in the Library. Meet at the Public Services Desk, IO:30 am. q:I .”I*#-+b:r. * 1UUlhl: rri ‘ 9

Applications for the following scholarships are being accepted during the Fall term. Refer to Section 4 of the Undergraduate Calendar for further criteria. Unless otherwise stated application deadline is Oct. 27/95, Application forms are available in the Student Awards Office, 2nd Flr, Needles Hall. All Faculties Doreen Brisbin Award: interested females entering 4th year in Spring or Fall ‘96 in an Honours program in which women are currently under-represented. Deadline: Apr 30/96 C.U.P.E. Local 793 Award: available to Union employees, their spouse, children or grandchildren for extra-curriiular/community involvement. Deadline: Sept 29195 Don Hayes Award: Deadline: Jan 311

96 Mike Moser Memorial Award: Deadline: Jan 12196 Douglas T. Wright Award: available to all who have participated in an intemational work placement. Students to apply upon return to full-time study at UW. Deadline: Ott 13/95 Douglas T. Wright Experience in Japan Award: available to all who have participated in a work placement in Japan. Students to apply upon return to full-time study at UW. Deadline: Ott 13/ 95 Tom York Memorial Award: available to all for short fiction - not essays. Deadline: Dee 31/95 Faculty of Applied Health Sciences Mark Forster Memorial Scholarship: available to 3rd or 4th year Kinesiology Andrea Fraser Memorial Scholarship: available to 3rd or 4th year Kinesiology. Deadline: Ott 13/95 Michael Geilner Memorial Schoiarship: available to 3B Kinesiology or Health Studies. Warren Lavery Memorial Award: avaitable to 2nd year Kinesiology students with a minimum overall average of 83%. Deadline: Ott 31/95 Ron May Memorial Award: available to 3rd or 4th year Recreation. Deadline: act 13/95 RAWCO: available to 2nd, 3rd or 4th year Recreation and Leisure Studies. Deadline: Jan 31/96 Faculty of Arts Arts Student Union Award: available to all Arts students. Faculty of Engineering Andersen Consulting Scholarship: available to 38 J.B. Bickeii Foundation Bursaries: available to all Chemical students. Deadline:

Sept

29/95

Canadian Hospital Engineering Society’s Scholarship: available to 38 Canadian Posture and Seating Centre Scholarship: available to all. Deadline: Ott 13/95 John Deere Limited Schohrship: available to 38 Mechanical EJiFn Scholarship: available to 4A Rand Duxbury Memorial availa b le to 3B Chemical

Award:

SC. Johnson & Son Ltd. Environmental Scholarship: available to 3rd year Chemical. Deadline: May 31/96 OntarioRubberGroup/RubberChemistry Division, CIC Award: available to all 38. Deadline: Sept 29/95 Marcel Pequegnat Schoiarship:available to 38 Civil, Water Resource Mgt students Jack Wiseman Award: available to 3B or 4A Civil. Deadline: Sept 29195 Faculty of Environmental Studies Shelley Eiiison Memorial Award: available t63rd year Planning John Geddes Memorial Award: available to ERS, Geoqraphy and Planning Robert Haworth Sch&rshiD: availabjk to 36 Park Planning and Mdnagement, Recreation, Natural Heritage and Planning, Outdoor Education. Deadline: May 31/96 i.O.D.E,-Applied Ecology Award: available to all 4th year. Deadline: Sept 29/95 Marcel Pequegnat Scholarship: available to 3rd year Environment & Resource Studies, Planning, Water Resource Mgt. Faculty of Mathematics Andersen Consulting Scholarship: available to 38 Math Eiectrohome75th Anniversary Scholarship: available to 3B Compiter Science Sun Life of Canada Award: available to 2nd year Actuarial Science Faculty of Science David M. Forget Memorial Award in Geology: available to 2A Earth Science, see department S.C. Johnson & Son Ltd. Environmental Scholarship: available to 3rd year Chemistry. Deadline: May 31/96 OntarioRubberGroup/RubberChemistry Division, CIC Award: available to all 36. Deadline: Sept 29/95 Marcel Pequegnat Scholarship: available to 36 Earth Science/Water Resource Mgt. , A _1 1

Fridav. Seatember 1 The Magic Continues: The Elora Festival presents the Elora Antique Show and Sale, Sept 1, 2, and 3. For info call 864-0331 Sunday, September 3 Walking Tours of the downtown Gait area for Heritage Cambridge. One hour tour leaves 60 Water St. N. at 2 pm. For info 622-2986 Wednesday, September 6 General Annual Meeting of KWCMS. Subscribers & donors. 94/95 season or later are eligible. Financial statements, Board of Directors election, discussion. At the Music Rm 57Young St. W. Waterloo at 8:OO pm. Kitchener Blood Donor Clinic: Kitchener Mennoite Brethern Church, 19 Ottawa St. N. Wednesday, Sept 6195, I:30 to

8100 om. Saturday, September 9 K-W Chamber Music Society concert at 57 Young St. W. at 8:00 pm. Virginia Wells, violin; Sydney Bulman-Fleming, piano. Student special: $9 at-door. 8861673 Wednesday, September 13 K-W Chamber Music Society presents the Canadian Chamber Ensemble at WLU Maureen Forrester Recital Hall at 8:00 om. 886-1673 Coming Out Discussion Group explores issues in sexual orientation. Topic: Coming Out to Yourself, Part 1. Hagey Hall Rm. 378, 7:30 pm. 884-4569 for more information. Lesbians, gay men, bisexuals, transgendered people, and those auestionina their sexualitv are welcome. Attention 95/96 Graduating Students: come to an information session that wiil explain the Graduating Student Employment Service. Wednesday, Sept 13/95, 3~30 to 4:30 om, at Humanities Theatre. Repeat se&on Thursday, Sept 14/95.

3:3Olo 4;30

Drn.

Sessiofis will be offered to Science graduating students, Sept 20-22/95. Prere ister in ESC253. Sessions will be o fr ered to Chartered Accounting graduating students, Sept 14/95,4:30 to 5:30 pm., AL 116. Session Topics: Important Dates & Deadlines; ACCIS Application Forms & Application Procedures: Career Preparation - Workshops and Employment Network Publication.

LSAT Students: If you want a competitive edge over other students writing the LSAT, consider the experts in test preparation: OXFORD SEMINARS. We offer well priced, intensive 20-hour three-day preparation seminars with personalized professional instruction in classes with limited enrolment to help you maximize your results. To register, or for more information on our upcomin courses, contact OXFORD SEMINAR 8 at l-800269-67 19 1 .*rac I. . ._

Basketball Referees needed for 95/96 Season! Many game times available to suit your school schedule - afternoons, evenings, weekends. Information Session and First Meeting is Sept 1l/95 from 7 to 9 pm. at St. Michael’s school (64 University Ave. W. - across from WLU) Meetings are Monday nights from 7 to 9 pm. For more information, please call Dave @ 744-4534

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National firm has immediate full/parttime positions. Flexible hours around classes, $9,OOOannually in scholarships, co-op credit, and $11 .OO to start are some benefits. All majors may apply. For interview call 571-7890 K-W & Area Big Sisters: Female volunteers are required to develop 1 on 1 friendships with youth. You must be 20 yrs of age and older and provide 3 hrs/wk for at least 1 year. Access to a vehicle is beneficial. Call for info 743-5206

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