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National 255

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King

Street

Monday

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North

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of-King

and

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Prkes and con&ation

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1) Saturday

Waterloo,

Ontario

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Fax: 519-725-1430

N212Y8


The

Counting

mainstream: the song that : .. ‘a sedated crowd concluded a =Crows pleasant evening of music. The first song could have been new material For an upcoming album,

Cd

larity leans heavily on their slower .;XJum-

and -----their ------finale ------- was-- and -_-- extended ----------

.. “Sullivan Stteet” which Duritz poured his soul into. Opening for The Counting - - -

and The Rolling Stone months end they’ll be returning to their home in Berkeley, CA. Back in Toronto for their second time this year -- but only their first appearan&’ because of Duritz’ throat illness which postponed their debut performance at Lee’s Palace -- The Crows entertaine$ the packed house to their mellow blend of pop music spreading their messages of self-worth and individualitv. Adam Duritz guided the eve&g throughout thi sombre set of material from their album. He was the main attraction that had the crowd eating from his hands from the opening song “Raining in Baltimore,” but unfortunately he lost his

&ng performed- live

claimed “. . .was the ----

Jesus” was in&&&d to t&, 1t& that does&$pear Q~tithe album\)’ .. ceptive audience ’ which {eppre-‘, z. )’ .&kxt r~a;& ihe big song of ciated the fact they’d never &ard the evening; the song that broke it before (it :was :: one of two isongs The Counting Crows, int& the‘:

- - -

- , .

-

.

“ ,

‘“““D’

some good 01’ country tiusic of own. Definitely not what one could have expected at a Counting Crows, show, but very cute to WY the least.

their

m

m

Anyhow, their latest show at Lulu’s was the fourth consecutive year they have come to Kitchener and it now seems that if

somewhat nostalgic as they have not been particulary prolific lately (this tour promotes a new album of covers, one of the previous tours promoted a live album). Had they been writing &riously though, there is little chance that the new material would consist of anything entirely different from what they’ve done before as the Ramones have been a band that are self-conscious of not changing. Their philosophy has been that if you are doing a good thing, why stop? And the shows are still good. You can go to one of their concerts and expect to hear old favourites like ‘Beat on the Brat’, ‘Sheena is a Punk Rocker’ or ‘Pinhead’ and appreciate it without having to give them a 20 year handicap. With a one, two, three, four,

ably never seen the likes of this since, well, the last Ramones show there. Actually, Lulu’s should have more shows of this kind there as the bouncers could learn how to deal with the crowd a little better. There’s no need to shove people, who come up on stage only to jump off again by themselves, back into the crowd. There was barely any banter between songs nor was there any time wasted. At times I’d dread the cry of 1, 2, 3, 4 which started another two minutes of relentless and tiring slamming. For the most part though, it was fun as long you avoided the oncoming bodies from the stage. And if you did happen to fall to the ground, there was always someone to help you up. I’m sure I’ll continue to see the band as will many others pro-

you

the

vided

Ramones Lull4 5

August 12, 1994 by John Jylanne special to Imprint

I

remember watching the movie “Rock and Roll High School” many years ago and recalling how one part of the movie took place at a Ramones concert. It seemed really exciting and was something that I really wanted to do. They never did come around much in that day, but I figured that the day they did would be a rare and special occasion to see these progenitors of punk.

aI1 skin and bones.

.A-..,.*... hitely NOT the far superior Sonic youth track of the same name, Closing off their hour and a half set with a two song encore to :

so much thenThe

Ibmones,

- .

I

They were younger

Ramones

. . -

choices by the band to warm up the crowd for their set. From San Francisco, singer/songwriter Paula Cole sedated the crowd with’ her pleasant voice, and intelligent songwriting. Very m&llow, very nice, but very boring. Next came the good 01’ folks from Potbelly, Louisiana, The Cox Family. Uncle Ned, Jethro, Cooter, wiss Mae, and Daisy

happened

ta miss

them

this

year, well, you can catch them the next. I can’t find anything wrong with this as they still put forth an energetic show free of any cynical trappings. But their shows have become

band

roared

off

with

“Teen-

age Lobotomy”. Simultaneously, crowd surfing began and continued until the band left the stage, that is for good, after four encores. ’ The staff at Lulu’s had prob-

Joey

and

Johnny

are

still

there and they don’t play any slower. They are one of the few original punk bands still going and worth seeing. See ya there next year.


Imprint, Friday, September2,1994

ARTS

Lollapalooza M&on Park, Barvie Thursday, July 28th

B5

pint of crap Canadian (we’re next stuff right now. proved to be the most circus-like with “So Whatcha Want” and to a brewery guys, why not some Too bad Tribe Called Quest element 0~~~~~~~~~~~1~;s~~. A “Sabotage.” They proved, in guitarist$$a h*&&g &esi$ ‘:qy actual choice?), and depart for were on at the same time, since short, to be the highlight of the .“I ot~i;er in diapers~‘“c the field of activity, that #&&:.:&y,.., :;Stunning by Greg Krafchick being the growing cloud and a-:~~~~~~~~a.:~~,~~~:~~. :;< Given that ’ h$erbole, Billy other :‘&jj&&, ,,,notL, “’.‘*’ Imprint staff of drug smoke that was ifii&&,, Smashing Pympkins in,:X:Jhe lea& ti$;~$hich, :_, &$& &$l their wor$i cut out for the main stage area. L7 ‘i&s Geprge, l&%rt++=them, but @y&&$0 .,e set could here has been a lot of critiwere on by this time, the churning out their fun their act ~tid~p~~ved.,:;,,~:~.~y~~~..:b~~~.~.,~~~~~c~ better. In a cism of whole 1I<..:..:.x _... >:Ii ;..,,.lr,, Lollapalooza idea this blend of rawk to a quite why Parliament has nutshell, th6? ‘Pu@pkins are yesyear. People have said it is no enthusiastic mosh pit. been so influential terday’s news, or rather last sumThe more “alternative” than any other Donita’s hair was dyed mer’s. monster summer rock tour, with purple, they looked as They enjoyed the show as scary as ever, and their much as any band that’s sick of promoters sticking their names everywhere, overpriced food and music was, well, pretty touring and wants to go into the merchandise, and acts that don’t scary too. Killer pop studio could, and as such should exactly represent the fringe of tunes like the closer “Prehave either headlined last year or the musical--spectyum. tend We’re Dead” may played before the Beasties this These &L% & validqomments, be lacking, but no one year. seemed to care. Everyone wanted a good First bf all, cny .,. ~o~oratio;i”.“‘“““.:~~:-,, Continuing on past Pumpkin-fest, btit it wasn’t on :i::,$‘x.. ::j:< like Lol~tipalodlz~,~~~~~, t@ iwake the% little merchant’s viloffer here. After a moving money to stay in+xis@ic&‘j:$$.H la& (complete with “al“Soma” to open the set, the band Bea& year th’e;” tdtir+t$ed. to “‘p@.:tiore :.? 1/i.tegative type” clothes Boys plowed through their material way obscure names tin the bill, in the?i:- .::I$$% bounded into the too uptempo, with bad sound to >..< ,_ at any arty store you belief that their reputatibri?“ijv~~~~.~~~~~~,~~~ prices 35000-strong boot. _ _ ^ to visit, withL .a..df course out of sight) 1 house, lashing out Even worse was Billy’s prove to be the draw, but in fact came to the side stage and George Clinton: Tearing a tumultuous “Sure frankly assinine attitude through because A) the masses didn’t the roof off’. heard some Girls Against Shot.” The mosh the entire set, culminating in his know who Primus, Alice in Chains Boys, sort of an Adorpit zoomed into a announcement that we’ll be the et al. were, and B) many who did able-meet&Buffalo Tom affair. they apparently got a good crowd seismic frenzy, extending at least 5 1st state in the union in a few thought they sucked, sales were years, which of course made the The crowd watched politely, but response and served as a breezy 300 feet from the stage, with tons way down. Line up wise, this year seemed to .l~.w&ng for bigger dry-out from the rain. The same of teenagers screaming the words already present rumblings of proved to be the best compro“Fuck you Billy” even louder. and better thing~$$&%-ic;~~e in went for the Breeders, who deverbatim. No, they aren’t really mise, balancing commercial sales “underground” anymore, but Even’so, the sheer strength of the the form of ~L-&o;iis Jack&& ,,, spite the maintainence of their and critical approval, and still does anyone care? songs yanked this mess from toJumping hdppily into th~“,i:a~~~~p,~~.~~io.n bad finding room for lesser known livex &<t&xatiw,as a technically ,practi.e there The summer belongs to them, tal oblivion, as “Mayonaise” bemoshpit agd the rain (for it was acts. coming flown ste~~~l~.~~~~:~~~i~.~:~~~~~~ly!), put on a god$ show anythey’ve put out possibly the best came the anthem to end the day, Second, this is indeed the real and “Silverfuck” blew out the ex@$ :G; yCannonbalI$ of course, album of the year so far, all of point) I.,jumped aboU~~&Y%l~+n~: world, and although it would be :f$j&--&&en more seam from the hausted moshpit for one last which means they deserve the nice to have that hippy-anarcho Gabby’,S ,..f$ take or&Q@;-l,tap,, thrashing time. They were, fame; “Pop” music does stand for attitude of “let’s make this differand general “‘New-,> York atipood. :.~;.,.:.:p-it, ‘.but “Z$@S” $s trashy and though, rather a disappointment. popular, remember? They had Less rapping and I tio~~z:+~singing wonderful’q j~~.@g#ld be, and the ent than any other tour,” the on the new material, but ‘~rs~~~n~id.:~~~.~Ed’s.:.,~~~~~m~ $)ualities cover And it was over. The stoned energy. They were tighter than existance of Lollapalooza would “Drivin’ C)& “~~!!;c$bet you didn’ t stumbled out among the merely your dad when you bring up tuigle “City Song” should set peonot be possible without the instidrunk and went off to their comfy know that!) made for the perfect tion. They thrashed about on tutions they want to rebel against. ple in motion this fall. A thump“Tough Guy.” They jumped up beds. Was it a meaningtil exing “Daughcomedown to their set. Thev need. periment in counterculture? Not and down to “Alright Hear This.” te& of rhe George Clinton and his say, Molson They made the crowd ballistic really. A day for great music. Kaos” and merry p-funky men followed, and or Pepsi to t h e have any tempationshope of esque dancpulling this ing of “Life massive exof Leisure” travaganza w e r e around the paticular continent, highlights. or else your And ticket YOU could actuwould cost a ally get close hundred to this stage bucks or without getsomething. ting killed. What it esCool... s e n t i a 11y NickCave: HardOnforLove. Over on the boils down main stage Nick and his Bad Seeds to is a day of seeing some good were casting their pall over the bands with a fairly like-minded crowd, and making the moshers crowd in a large festival setting The City of Waterloo and our community welcome you to Waterloo! Living at the front look ridiculous. He - bands that normally would draw away from home can be an exciting experience. A new community means was intense, of course, toasting about 0.1% of the people here; be the crowd with a glass of red wine, glad you have this opportunity+ new friends, new places to go and no parental supervision! Take the Boredoms for inand seemingly the instigator of No supervision sometimes leads to: loud parties - parking on lawns and the downpour that suited his set stance. Sure their set was loud, so well. Brilliant, though he and shouty, and ch~@~; ‘and genboulevards - a build-up Of garbage and junk where it doesn’t belong. erally a little ridi&loiis%ith them. .i would probably disagree. The City has by-laws which regulate or prohibit these matters and they are screaming Japanese to a bupch of.;. :....‘..“.,” -“After .>Nick though the place :. was tl$e side stage as (The) enforced on a consistent basis. As you may be new to our community, we Canadians and $1, but ii+-: ‘way, ““:io..~be and they needed to be there: Here’s a _ ’ ‘t’ebe picked up instuments want you to be aware of these by-laws before you find yourself in conflict with band that would be lucky% open ~ ::pr~&&d ,rto blow everyone, inyour new community. cluditig t& clouds and rain, away. for Shonen Knife five spaces down Richard wandered about like a the bill at 8:30 P.M. when no one The City of Waterloo Traffic By-law #83-l 9 does not allow overnight parking crane on acid, while maintaining is out at the bar yet...playing to on City streets between 230 a.m and 6:00 a.m. This by-law also restricts enough sense of humour between 35000 bloody people! The sheer songs to still seem credible, as the parking on all City streets to a maximum of three consecutive hours unless ridiculousness of the situation guitarist convinced us that he was made you smile, yet glad to move signed for a shorter duration. Signage advertising these parking restrictions playing about nine guitars at once. on to something with an actual is located on the main streets entering the City of Waterloo. Their traditional closer “Gravity tune. Grave” was stupendously overOf course, all of this I heard You have chosen our universities because they are well respected and they blown, and so high it was dizzy, from the beer tent behind the main chose you because you have a lot to offer. It is your responsibility to keep but that’s what they’re all about stage, and so to get my money’s in the first place, right? Buy their your university and our City proud of its students. worth I decided to down my last

T

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THE CITY OF hl

Watal00


ARTS

Hillside Festival

choice while being accompanied ryone returned to their campsites by other performers from a vastly exhausted where individual pardifferent musical culture. ties raged on into the night. After this set, the Brick Stage Sunday, we all returned to by Jeff Zavitz offered a jazz workshop called the island to watch assorted perJazz Explained, followed by an Imprint staff formances by Scutterbotch, hour-long performance by the ACME, the Dufflebag Theatre, s a newcomer to Hillside I Kieran Overs Quintet. Although Thorn “Champagne Charlie” had to ask myself; Where’s only the true jazz enthusiast was Roberts and the Gospel in the the hill? The festival able to tap their toe (in time) to Round or to spend time squarewhich has existed for eleven years this performance, the musiciandancing with the Bill Hands and - takes place at ship was exthe Hoof Beats. the Guelph cellent and At the Brick Stage, Stephen Lake Conserthe members Fearing, Alex Sinclair, Scott vation Area on of this full Merritt, Veda Hillc and K/W’s own the flattest littent seemed Paul MacLeod (who was imprestle island you’d quite imsive) played covers of songs they ever care to lay pressed with wished they’d written. This ineyes on. the show. cluded Veda’s quirky interpretaFriday At the end of tion of “Been Caught Stealing,” night I arrived the set, the and Scott Merritt’s great rendiat about 8:30 Brick Tent tion of Tom Waits’ “In the Neighso regrettably I took an hour bourhood. ” missed Veda long break to In the afternoon, the Main Hille and Black allow their Stage became a Funk/Reggae/ Cabbage. many crossWorldbeat dance-fest with backLuckily the legged pato-back energetic shows by Rheostatics trons to make Gypsy Soul and the Afro Nubians. were set to rock their way to This gave way to the kick-ass the port-othe main stage blues of Morgan Davis and then lets without the vocal finesse and impressive from 9:00missing anymusicianship of the Eiicen 1 1:00 while K1 thing. This McGann Band. W’s own Fat Cats were playwas also a At 7:00 Scott Merritt took the ing at the Lake good time to stage and entertained with a mix sample the of acoustic and electric folk/rock Stage. Hey diddle diddle..... many other that was both quirky and insightThankfully the Cats purred and all the activities offered on the island ful. He was followed by the imaudience was up dancing in apbefore settling in at the main stage mense musical prowess of guitarpreciation. It’s hard to believe that for that evening’s performances. ist Don Ross. Don was the first this group was only formed in These activities included a Canadian to win the U.S. National They were tight Women’s Issues Tent, a CommuGuitar Championship (in 1988) 1992. instrumentally and their music nity Tent, an Environmental Tent, and this accomplishment was no inspired the audience to join in a Craft Tent, fluke. The two Workman has the fun &at they seemed to be shop Tents, a three hands. having. By contrast, the Kids Tent, a After Rheostatics were flat and someYouth Tent, a set that inwhat lifeless. This band always babysitting cluded a comes across better on disk. On facilities, guest perstage their music sounded forced and they lacked the energy of the many artiformance by Oliver Fat Cats. sans and a Schroer on Saturday was packed. It wonderful electric fidstarted on the main stage with a food pavilion dle, Connie drumming clinic where you were staffed by a Kaldor took asked to bring your own drum dozen booths the stage and join the party. Next came offering evewith her Guelph youth bands Minnow, rything from acoustic guiTroll, Benjamin’s Train and Italian sausage to ortar and piano Square Pegs while a Newgrass/ to join her Bluegrass set was taking place on ganlc vegband for a etarian sandthe Lake Stage. I chose to cover wiches. more rethe East meets West set at the laxed hour Brick Stage which was of course Needless to of folk musay it became sponsored by our local sic before a central brewmeisters supreme. the evening’s The performance was hosted meeting final perby Jeff Bird and included the likes place for the formance by of George Sapounidis, Guillermo festival. headliner SaturChicas, Gustav0 Cabilli, J.P. Almost as good as Randy Rhodes Stephen day evening’s Bertuola and Darren Shearer. This Fearing. (This seemed like odd was one of many sets that were shows were wondetil. Tamarack scheduling to me. I would have offered throughout the weekend was folky, the Bird Sisters prorather seen Connie’s act switched which drew on the musical talvided beautiful harmonies and with Scott Merritt’s but such is ents of many unaffiliated perGuelph’s own Blacksheep Morris Dancers kicked and twirled to the life:) formers. These turned out to be rj Stephen Fearing was great. lively accompaniment of an acsome of the best shows going. ds song-writing was intense and cordion and a fiddle. L Similar to the East meets West liis guitar playing was exquisite. Next, Bender took the stage set was Sunday’s North meets , “The gentle, melodic numbers with South workshop featuring host and the crowd began dancing that which he closed the show proved would last through strong perOliver Shroer, Tarig Ahmed him to be the perfect talent to formances by Change of Heart Abubakar, Oumar N-Diaye, Mike finish a great weekend. and King Cobb Steelie before cliO’Connell, Adam Soloman, Reg If you get the opportunity to and David maxing with the last act, the Greenspoon attend Hillside next year I highly Skydiggers. After four and a half Woodhead, which allowed these recommend it. hours of high-energy release, evemusicians to play a piece of their Guelph L&e July 22, 23, 24

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as a s&U+ live band far exwed?d expectations for the crowded, fist-pump& moist au, dience;’ ‘Usher ‘attacked the mic,’ his

the passion and fury of the words he delivered tu this fine-tuned music machine,. Songs like “believe me ,” “kill for you,” and “into everything’* took on it life of their Own in this live

and c8hcclled’ bs The riseofthe houSe of l.F&er. ,. : cause of throat infections for frontman David Usher, band members, and threw himMoist came and ,delivered an inself into the, crowd on several credible live perfurmarrce: Their uccassions its welf ‘%I kee’pitig up

sher sum up Moist to great live band. Do yourself a favour and check Moist auk It’s guaranteed ta leave YOU feeling M&t.

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Imprint, Friday, September2, 1994

by Greg Imprint

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in the bubble presence, and while it may sound trifling, if you were there then you’ll know that lead singer Paul Jargo’s CONSTANT, INCESSANT, FOREVER AND BLOODY EVER tendancy to rock back and forth while singing frankly drove one nuts. He looked like the

ineteen ninety-four will be remembered, I \ among other things, as one of the greatest years for Canadian music. Want proof? O.K., how about the new Sloan and Rheostat& albums? Or the Rose Chronicles, or Jale, Tristan Psionic, Anyhowtown. Oh yes, and don’t forget that, “First Day of Spring” song right? Put simply, this band blew. A sold-out bar and a hyped crowd couldn’t save this glaring fact. They took the stage and played through a set of new and old material alike, all of which showed one glaring problem -- they don’t have any songs. To be fair, one must give them credit for at least trying some experimental freakery, such as the circus-like noodlings of “Circus Song” or the off-kilter>. - With my hmnotic mwers vou will w WC beats of many others, which enjoytheshowancitellall;ourfiends. at best were passable, at Rainman on speed. Was he trying worst quite dull. Then there was to hypnotize us or something? the cod-reggae-ska that sounded That 6ombined with bassist Eric really bad, and overtop of it all were unintelligable lyrics that Howden’s habit of bouncing up and down to all the most inapprodidn’t deserve to be heard anypriate songrpade more than one way. Then there’s the band’s stage person simply want to stop watchL

( &

ing before they got sick. Overall, any song that may have sounded passable was so overshadowed by trash that you forgot about it anyway. The second last song showed a warped love for MEN, which perked things up a bit, as did the last track, which at last showed that, yeah, this is indeed the band that wrote that big MuchMusic hit. And what of that song ? Well, they did the seemingly impossible thing of taking that wonderfully edgy, everythingyou-never-thought-a-popsingle-could-be song, and making even it dull. That was when people started walking out. In droves. Oh, and just when you thought it couldn’t get any worse.. .the encore consisted of a Motley Crue tune, followed by an equally atrocious “Don’t Stop Believing” by Journey. If you’re going to do that kind of thing, p/ease throw in your own treatment to make the song your own (cf. Teenage Fanclub’s “Like a Virgin”, Lost Dakota’s “Back in Black”, etc). DON’T ape the original to the last note, . n or It*, 1Decomes as much mn / as root canal. If I want to i :$ee corporate rock wankers like the ~_1~_true,

I’m

not

going

to gel to

Phil’s.

...Or perhaps I am, at least if the Gandharvas are playing that is. Hands down the worst show I’ve seen all year.


ARTS

Imprint, Friday, September 2, 1994

Air

iJordan shirt which draped over her tight

Sass Jordan Lulu ‘s Roadhouse Friday, August 12 by Chris Imprint

fitting striped stretch pants looking in top shape. She promptly broke into a solid version of “Damaged” that set the tone for the night. From that point on the

Aldworth staff

I

f you blinked your eyes during the Sass Jordan show at Lulu’s you might have missed it. Oh how I wished I would have counted the actual number of songs that Sass Jordan performed before the -set ended and she said goodbye. There is no way that it was more than eight or nine songs. With three albums under her belt this definitely lacking set was an utter disappointment. The songs Sass Jordan did offer were super, but the simple fact remains that there were not enough of them. Granted, Sass did put on an energetic show but that hardly makes up but the inadequate length. The only other partially redeeming quality to the night was the six song encore that followed shortly after Jordan’s exit off the stage. A big question still remains. Shouldn’t an Almost as talented without The Box artist earn an encore?. With such a short set it was inevitacrowd was eating out of her hand. ble that Sass would appear agai n Sass was happy to provide mateDid the crowd deserve more murial from her previous two albums, sic? The answer is a decided yes. Did Sass Jordan deserve an en1992’s Racine and the new recore? The answer is a decided no. lease Rats, but absent were early Here is the dilemma. The crowd hits like “Tell Somebody” and deserved more than they received “Double Trouble” from Tell out of the opening set. They had Somebody. Sass thankfully has to yell and scream for Sass to moved in a new musical direction come back just to get a full night since her 1988 debut and the blues of rock and roll. rock permeated the entire set. Sass appeared on stage Sass delved till throttle into dressed in a loose fitting white material from Racine, playing

classic rock mainstays “You Don’t Have To Remind Me” and “I Want To Believe” as well as the her biggest hit to date, the rockin’ “Make You A Believer”. Touring in support of her latest effoti Ruts, an album that has received a cool response by the media, Sass ripped through. them none the less. The faster songs like “Pissin’ Down” and “High Road Easy” were strong enough numbers live but it was the slower number “Sun’s Gonna Rise” that stole the show. Closing the set off Sass opted for an odd choice. The down tempo ballad “Cry Baby” was a fine performance but proved to be an anti-climatic closer to the set. Returning to a cheering and expectant crowd, Sass surprisingly strayed away from any further selections from Rats. Instead she treated the remaining audience members to a few nonalbum tracks. Half of the six song encore was comprise d of non-descript numbers that did little to rev up those remaining. They could have been covers, they could have been Bsides but by that time it didn’t matter, for many the show was already over. The final number “Time Flies” cranked up the volume and the energy but by that time it was far too late, Sass had lost touch with the crowd. It was over and she didn’t even know it.

Helmet, Prince Denmark Helmet RPM Wurehouse Sunday, August 14 by Paul Biondich special to Imprint

H

elmet crushed! That was the only way to describe Helmet’s attack on the eagerly awaiting audience at the Warehouse last Sunday. Their performance was marked by an unmistakable blast of hypnotic bass, guitar and piercing drums. The Warehouse may not be the ideal place for a band to play compared to other superior venues, however, the concrete walls and rawness of the Warehouse actually

seemed

to

B9

facili-

1 crush!

tate Helmet’s performante musically and visually. Helmet did not disappoint the semi-packed Warehouse by playing a wide range of songs from their current and past albums. The

I crush?

highlight of the 75 minute concert came from a dangerous trio of songs starting with “Biscuits for Smut” from their latest album Berty by “Give it” and “In the

of

meantime” from their previous album Meantime. I was very impressed with the band’s musical performance on stage. Most impressive, was the drummer John Stanier who was thrashfully perfect. Vocalist\guitarist Page Hamilton no doubt stole the show. It was clear last night who was the back bone of this band called Helmet (which was something I wished I had after getting out of the mosh pit). Bass player Henry Bogdan had an eerie smile during the night as he delivered bass lines of gyrating thunder. Overall, Helmet was an impressive well oiled machine that suceeded in their mission to rawk and should be seen given the next opportunity. A word of advice; if you decide to see Helmet in the future, bring one.

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ARTS

BlO

Giving Nine Inch Nails with Soyndgarden Mulson Park August 6, 1994 by Scott Reid special to Imprint

I

must admit that I am horribly sick of hearing the words “Generation X,” and also of hearing who speaks for our nameless, faceless, causeless lives, but the question still popped into my mind last weekend at this show. Listening to Trent Reznor scream “You make this all go awayI’m down to just one thing,” it started to occur to me that Trent makes a much better spokesman for our generation than Kurt Cobain ever could have. While Kurt knocked off endlessly bland, 3 chord power pop songs, Trent sings (screams?) of anger, pain, confusion and hurt, and his performance showed that he has certainly touched a vein in many people. Trent and his Nail-mates began their

Imprint, Friday, September2,1994

the big nine

inches

set in fairly bright hard like “Jesus Christ sunlight, but halfPose,” they heard the way into their set, powerful sexual anger darkness had envelof “Reptile,” the viooped the stage. lent fury of “Wish,” While the sound and the venomous system broadcasted sexual desire of a recording of “Closer,” which ended “Pionne,” the erratic with a horribly off-key intro from the Brawall of sound which ken EP, the band separated the industrial took the stage and fans from the pretendthen broke into ers. “Terrible Lie,“, For the fans, seeing the (from their debut, Nails isn’t like seeing Pretty Hate Mua band trying to sell Immedichine). you on their product. ately, half of the Trent assumes that if crowd shot up to the you’re there, you’re alfront of the stage, ready sold, and for the Following the new “spokesman for our most part, we were. while the generation” is always a tough act. Soundgarden fans Anyone who was there funnelled out of the to see Soundgarden, mosh pit. Unfortuna ltely for these rockers, and had said that they liked “Head Like A who were expecting to hear something Hole,” probably wasn’t convinced, but any-

one who wanted to see Nine Inch Nails got exactly what they had hoped for. Rage. I had assumed that Trent’s live show would feel rehearsed and faked, but those explosions of energy on stage were real, and they translated through to the crowd. Trent’s threat as to what he would do to the sound man if he heard any more feedback pretty much summed up the sound quality. Over all, the show was well worth the money, and I would definetly go and see the band again, and these days that’s not something I say very often. Not having seen all of Soundgarden’s set personally, I won’t pretend to give a review of their anti-climactic performance. However, I will mention that although the sound man should be shot for the jangle of crap that passed as sound, Chris Cornell’s voice was incredibly impressive live, and the crowd did seem to enjoy their set. Of course, having the band follow Nine Inch Nails was the biggest joke this stage had seen since the Smashing Pumpkins followed the Beastie Boys, one week earlier.

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ARTS

Imprint, Friday, September2,1994

CDne footinthe Headstones

with Zen Bungalow* Phil’s Bar and Grill Wednesday, August 17

by Alison Hargreaves special to Imprint

I

f you say you’ve never seen the Headstones, you probably don’t watch TV either. They’re the ones in the Labatt’s Genuine Draft commercial with the guy who says “who cares!” The Headstones’ performance at Phil’s wasn’t exactly a high energy show -- meaning Hugh Dillon (lead singer) didn’t smoke, drink, or spit as much as he usually does -- but they d&vered a quality performance. The fifteen song set lasted over an hour and included most of their current album, Picfzlre of Health, plus some new material. This

Bll

grave

particular evening’s rendition of “Oh My God” was embellished by jam interlude to a ‘Hip’ cover halfway through the song. This was followed by other favourites such as “Judy” and “When Something Stands for Nothing,” and “Its All Over” closed the set. Kicking off the encore with “Raw hide” got Sold out you say? a little crowd participation but didn’t live up to past experiences, The three new songs includes: on the roster sound promising but 1 didn’t catch the names. The new album has

been completed and will be tentatively released in January. Opening the night was the talented Winnipeg band Zen Bungalow. The band came armed with a whole arsenal of cleverly crafted guitar tunes. They showcased some incredible brand new songs along side material from their now year old cassette Milky. A super version of Love and Rocket’s “Ying, Yang and Flowerpot Fuck you! The Man” halfway through the set was indeed impressive, and Zen Bungalow proved to be a welcome opening act for the Headstones show to follow.

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B12

ARTS

Imprint, Friday, September2,1994

C 8

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Imprint, Friday, September2,1994

ARTS

B13

Splenda and “Sleep in Late.” His grasp of some of the great blues sounds really impressed us, Friday, August 19 especially from such a young musician. The crowd at the Volcano seemed to be by John Crusz and Tim Laslavic quite a mixture both in age and musical special to Imprint taste, from alternative to rockers to blues lovers. Alf seemed to be captivated by the band’s sound. The intimate setting at the he Volcano erupted Friday night with the sweet sounds of Gordie Johnson Volcano also lent itself to the great atmosand Big Sugar. Even the late start phere. It was a great place to catch a band didn’t mar the enthusiastic crowd. They such as Big Sugar. were treated to a mixture of rock and blues The band consisted of a mixed bag of from the group’s two recordings on the players which seemed to be from different genres of musical styles, but at the same A&M label. Opening with the powerful “I’m a Ram” and “How Many Times,” they time seemed to compliment each other. The presence of a ‘sax carried the crowd player who doubled on through a sampling of their songs from the harmonica lent a great sound, especially their latest album Hundred on the reggae number Five Pounds and their they played for the enself-titled debut recore. lease. Highlights It was quite obvious included cuts like from this gig that Johnson has really cor“It’s All Over,” the nered his sound, which whimsical “Sugar tends to lean toward a in My Coffee” to the driving finale harder edge (turn up “Ride Like Hell.” the distortion another WC were also notch, Gordie), evident on his latest release. It treated to cover Playin’ with his Crawlin’ King Snake. is great to see some of tunes with John Lee the newer bands doing Hooker’s some of the old blues standards. Hope“Crawlin’ King Snake,” and Traffic’s “Dear Mr. Fantasy.” The Sugar also did a fully some of the younger fans will come to couple of songs from their upcoming re- appreciate these legendary players. 1 lig Sugar has all the makings of a great lease due out sometime this fall. Johnson’s smooth guitar work with its bant ; great vocals, good guitar work and hypnotic riffs and piercing solos ran the solic material with no gimmicks, which is gamut of styles ranging from blues to drivhard to find in newer bands these days. ing rock with even some slide guitar thrown This is the second chance I’ve had to check in. AI1 complimented by a great falsetto out this band. A real treat to watch if you get a chance. voice, on the haunting “Wild Ox Moan” Big *Sugar The Vulcano

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ARTS

Imprint, Friday, September2,1994

B15 when fans would gob all

Jawbox Lee ‘s Pa Lace Friday August 19, 1994 by Seymour Drewe special to Imprint

I

n no other artistic medium does the artist so needlessly

suffer pathetic indignities as

does that of rock and roll. A case in point was the recent

Jawbox performance at Lee’s Palace in Toronto.

The Washington,

D.C., four-piece was blazing through an incredibly powerful set that had heads banging furiously as feet became glued to the floor. This was music too intense to mosh to -- most of the crowd remained stationary, standing stunned with mouths agape, only to find their heads pounding involuntarily to the beat. Most of the crowd, that is, except for the few morons bent on upsetting any good vibe that was otherwise &mpletely lost on

them. Bassist Kim Coletta, the obvious focal-point of the group as she bounds hither-and-to center-stage, had ice cubes thrown at her (they struck her chin and chest) and then later a lit cigarette was flicked dangerously at her. Both fire and ice, rudely thrust at her and for no good reason. Was it because she was a woman? That’s not a very good reason. Was it a gesture of endearment, like back in the ‘70’s

over the Sex Pistols? I hardly think so -- she looked rightly perturbed. Or maybe it’s another symptom of the sort of asshole-ism that’s currently in vogue with hardcore idealist punks. The sort of asshole-ism that almost left Jello Biafra dead, all because some idiots surmised that “he’d soldout.” You see, that’s the slag currently being levelled at Jawbox. Having formerly been on the Dischord label for a couple of albums, Jawbox recently signed onto a major label deal with Atlantic, who’ve just released their latest For Your Own Special Sweetheart. Dischord is the label run by Fugazi head-honcho Ian Ma&aye and is considered pretty well the piece-de-resistance of independent label heaven, so anyone who’d ever so much as even think departing for the greener pastures of a major label must be a traitor,

right? Well, somebody

not quite. It’s fine for like Ma&aye to stay with the independent label because apart from his gig with Fugazi (who sell lots of records), he’s got a fill-time job, namely, running the label. Jawbox, on the other hand, do not sell lots of records or receive loads of press

attention. They’re not getting any younger (they’re all in their late twenties) and they’ve all had to hold down part-time jobs for their very survival. That sort of arrangement makes recording and touring schedules near on impossible. In any event, their split from Dischord was by all sources amicable. Indeed, Ian Ma&aye was reportedly their adviser and helped negotiate the finer details of the deal, and Ted Nicely (who’s produced all Fugazi’s records} produced their newest. Besides, the bottom line is that Jawbox are an amazing band that deserve to make a living from what they love to do. That’s not a sell-out. It’s called intelligence. Opening with “FF=66” from NovElty, Jawbox quickly captivated the crowd, layering giant slabs of guitar from Jay Robbins and Bill Barbot on top of the chunky D-C.style rhythms of bassist Coletta and drummer Zach Barocas. For the most part the intensity was kept high with the two guitarists bookending, and perfectly framing, Coletta’s visual dynamic. Every once and a while, they’d drop it down a fraction to give everyone a short breath, before roaring back with hyper kinetic energy. With songs like “Mirrorful,” “Motorist,” “Green Glass,” and “Lil’ Shaver” Jawbox demonstrate they can rock with aggression, rhythm, restraint and melody. It’s a gift that might land them the attention they deserve. Until then, all the bullshit talk about selling-out is just that. Bullshit. And as for the idiots tossing-off ice cubes and cigarettes, it’s high time they found themselves a life.

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and a member of Country’s elite -- the Grand Old Opry. Such was his alcoholism though, that after numerous missedgigs, drunken appearances and failed wamings, Williams was booted off the Opry. It is perhaps a measure as to the man’s song-writing and performing genius that he could interrupt these binges long enough to get in the studio and lay down masterpieces that would climb to the top of the charts again and again. He was the first country artist to get his songs to cross over to the pop charts. These songs would profoundly influence a generation of rockers -- Elvis, Buddy

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Young

known and most mis-undexstood musical artists of the post-war era. Until now. Finally someone’s got it right and written the definitive biography on Williams, and that somebody is Toronto’s own Colin Escott. His new bio, now available in hard-cover from Little, Brown, asserts both Williams’ staggering importance and the reality behind his mythical life. Equally as staggering are the revelations behind those myths; Williams’ life was already so fantastic that it never required the slightest bit of embellishment in the first place. Hank Williams was born on September 17, 1923 and died in the back seat of his Cadillac on New Years Day, 1953. His death was the result of an overdose combination of alcohol, morphine and chloral hydrate. A living legend, he was only twenty-nine years old and rock’s first casualty. Of course, Williams was never considered a rock artist in his time. The term “rock” hadn’t even been invented. He was a country artist in the tradition of the Carter Family, Jimmie Rodgers and Roy Acuff; and at a time when Nashville hadn’t quite yet established itself as the Country music capital. Williams grew up in rural Alabama, the product of a dirt-poor singleparent family. Barely literate, he learned much of his musical craft as a youngster in the streets of Georgiana, Alabama, from an old black man nick-named Tee-Tot. Many years later, he would meet his first love, the irascible Audrey Mae Sheppard, who would later

become

his

Hankin

the streets

ofMontgomerv.

singer, jealous of Hank’s success, spent money like a lottery winner with a month to live, extremely bitter

and

argumentative,

could

refuse.

And

when

first

Six More

Hank

drank, he binged. This proved in no small part his downfall. He quickly became the biggest star in Country music

wife. In Escott’s bio, it becomes clear that Audrey was an immense influence. She was a horrible

and

cheated on Hank constantly without ever attempting to conceal the fact. In essence, Audrey was the classic bitch. But she was also way more. It’s fair to say that without her, Hank probably would never have departed Alabama and shot to the big time. Besides, with heartfelt songs like “Your Cheatin’ Heart,” “Cold, Cold Heart,” and “Why Don’t You Love Me?” Audrey provided inspiration for some of his most memorable material. When Hank moaned the blues, those who heard him became instant believers. Equally as pivotal in Hank’s life was his notorious battle with the bottle. An alcoholic practically since his early teens, Williams never met a drink he

Feet (to the Graveyard).

Y

Holly,

Gene

Ginceni,

Bob Dylan -- and alter the course of popular music. Nevertheless, Williams was so enormously wasted and unreliable that in spite of his regularly selling a couple of million records a year he was reduced to playing the smallest imaginable beer joints and school houses. Naturally, there’s plenty more in Escott’s book -- his early days, the marriage to Audrey at a gas station, the subsequent infidelities and divorce, the morphine addiction, the climb to the top, the rush of fame and success, his second marriage to Billie Jean (three repeat “wedding ceremony” performances in one day in front of packed auditoriums of 14,000 people),

the creative

proc-

ess,the downward spiral to death, and an exhaustive discography. Williams was a shining light who passed by far too quickly. Naturally, many legends have arisen as a result. Thankfully, Escott has cut through the revi-

sionism to provide a superb and entertaining work of historical accuracy. The king of country deserves nothing less.


__

Imprint, Friday, September2,1994

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Imprint, Friday, September2,1994

performance that was, I must admit, good. dies. it should be But should have been great. Tom Patterson Theatre Hamlet is a brilliant play but the play shouldn’t have to support itself -- as it May 26 to September 17 often did at Stratford. While Steven Ouimette in the lead role by Sandy Atwal sometimes pulled himself out of his meImprintstafT diocre surroundings to play Hamlet splenor the theatre-lover, a trip to Strat- didly, he seems, more often than not, conford, Ontario is like a trip to an upscale stantly dragged down by the second-rate of Kevin Bundy and Disneyland, With a reputation for performances Jonathan Crombie (Rosencrantz and lavish productions, talented actors and brilliant plays, the Stratford Festival has Guildenstern) and many of the other worked hard for its’ well-earned reputa- players, including a lackluster performance by Sabrina Grdevich tion. Why then, one wonders, does a play (Ophelia). like Hamlet get relegated to such second Ophelia is an almost stage status? Why must it be imbued with perfect romantic char-q >. ..>-* the vulgar trappings common in the recent acter in Hamlet. Ad-A trend towards modernization that is de- vised by her father Polonius em. to stay away from Hamlet, she stroying contemporary theatre? t One would expect such needless tam- is rejected by Hamlet as he ?z:+*’ pering from highschool and university stu- feigns madness, and eventually kills herself aAer her father is .,*$; dents who feel that by tinkering with killed. Shakespeare they are somehow improving Great, Perfect. Lovesick’ i:*, it, but for Stratford to do so is inexcusable. Worse still, the play isn’t really mod- ness, murder and madness -all the right ingredients for an interesting ernized as much as it is “minimalized”; which on stage comes across as “poor pro- play. The problem, however, is that Ophelia Yolonlous’ can’t really act very well. duction values.” She never seems that appealing or ro- comic character A sparse stage set (several chairs and mantic in the first place, and her madness finally came out. a table), a lack of regard for traditional Nervous laughs here and there eventually costumes (which were replaced with black is little more than annoyance. You don’t escaped from the crowd, but Douglas Rain levi’s and white shirts) and a host of new really care when she dies. seemed to suck the humour out of a lot of actors (who lacked the vitality and stage But you should! That’s the whole presence experience brings) added up to a point, she’s a tragic figure, and when she Shakespeare. Hamlet by Richard

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ARTS

Imprint, Friday, September2, 1994

yesterday, jam butneverjamtoday

Through the Looking Glass directed by Marti Muraden Avon Theatre, Stratford Until Oct. 16

gnat converses with Alice, it descends from the fly space on a wire, jostling its body in amusement at its own jokes. Little attempt is made to hide the fact we’re watching a play--a puppeteer dressed in black leaves

her hands and

by Jennifer Epps special to Imprint

M

arti Maraden’s Alice Through the Looking Glass is nuts. Gloriously, unabashedly nuts. With the inspired help of set designer Stephen B&ton Osler, costume designer John Pennoyer, composer Keith Thomas, and choreographer Donna Starnes, Maraden has staged a version of Lewis Carroll’s classic that is both utterly delightful and nightmarish nonsense. Canadian playwright James Reaney’s adaptation manages to theatricalize very literary moments--often a poem or an anecdote is acted out in the background while another character speaks, so that, as with the cartoon Beetlejuice, we feel that at any moment a word might suddenly become a looming, uncontrolled physical entity. In order to avoid falling into cutesy storybook land, Maraden and her creative team have pulled out all the stops. Through a combined visual/aural/textural/kinetic assault of non-sequiturs, they achieve a mood that is as untamed as this, Carroll’s second book about Alice. Aside from the brilliance of Carroll’s language, much of the production’s humour comes from the way effects occur: when Alice shakes a doll-sized chess piece, we hear a tiny voice like that of a squeeze toy squeaking “Let me go!“; when a giant

tomorrow,

upon to warble and gyrate, as Thomas’ score contains almost enough numbers for a musical. One of the best of these is sung by the company at Alice’s dinner party-far from typical children’s music, this piece has a modern, al-

face bare while an ternative sound. In the midst of actor plays a all this chaos, horse inside a there are still see-through wire moments when frame head. everything Meanwhile, other slows down and effects are marwe just get to vellously conenjoy actors disvincing: snow playing their falls inside a ‘reflection’ of a wares. Douglas Rain, nestled indrawing room side a huge egg window; billowcostume, makes ing smoke consuch use of fafines itself to the cial expressions parameters of the and vocal range looking glass; the jabberwock towthat his line readers over the audiings alone keep ence like a Holyou on the edge lywood monster of your seat. and gets decapiHumpty Dumpty is in tated in full colour. fact treated as a The absurd centrepiece of manipulation of the show--music the chorus is a Brillig are the slithy toves. swells and lights highlight. Clad in yellow-and-green chessclimax on him not once but three times before and after intermission. Rain’s bumboard body tights, they scamper about, ing intelligence and emotional dexterity changing shape and changing scenery. As justify even this portentous treatment. oysters, with pearl noses and shells that sit on them like goofy tutus, they wobble inAlso outstanding are Tom Wood as the gentle, confused White Knight, a charnocently to their doom. They are also called

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acter which fans generally see as a standin for Carroll himself; Bernard Hopkins and Keith Dinicol as the infantile Tweedledum and Tweedledee; Douglas Chamberlain as both the Carpenter and Haigha (read Hare); the rubbery Bradley C. Rudy as Hatta; and Michelle Fisk as the upright, disciplinary Red Queen. Each of these charismatic performers makes an individual impression and yet fits into the overall tapestry, much to Maraden’s credit. Now, however, we come to Canadian television star Sarah Polley, of Road to Avunleu fame. This fifteen-year old actress seems embarrassed to find herself in the shoes of eleven-year old Alice, and so never relaxes into a child’s reactions. Victorian language and British coquetteries seem so foreign to her that she never gets beyond arch preciousness, and though her surreal adventure would terrify anyone, she is persistently, nauseatingly cheery. (She smiles even when telling us how aggravated she feels.) Worse, Polley begins the play on a particular speech pattern and She doesn’t mar stays there throughout. the show beyond recovery, thankfully. There is usually so much else going on, and she is surrounded by so many vivid players, that we become inured to her. Finally, the approach taken by Stratford could have resulted in an insufferable Through the Looking Glass. What Maraden has pulled off is surely very difficult. Yet the show doesn’t degenerate into winkwinking and nudge-nudging. When all the campiness and weirdness are over, there still remains a sprinkling of fairy dust,


--~

ARTS

B22

Imprint, Friday, September 2,1994

Roxane, please put on Vour red light u

Cyrano de Bergerac directed by Derek Goldby

laying

Festival Theatre, Stratford Until

Nov.

12

it on a bit, er, thick,

wouldn’t

you

say? Never mind. Rostand’s play is still gripping, witty, touching,

sometimes

and (as in scene)

the balcony a little transcend-

by Jennifer Epps special to Imprint

I

n last year’s Merchant/Ivory film The Remains OJXE Day, we are shown that old codes of propriety and duty which prevent characters from confessing their love for one another are actually quite tragic. In Edmond Rostand’s popular 1897 play C~~una de Bergerac, the same lack of communication is meant to be romantic and noble. Remains defines a butler’s self-sacrifice as the result of his lack of courage; Cyruno perpetuates the melodramatic claptrap of its day and celebrates the extreme

self-sacrifice of one misanthropic poet and swordsman as proof of exceptional freedom and bravery. Consequently, Cyran~ is essentially a one-man show; even Roxane, his love interest, is merely the target for Cyrano’s fine qualities. Throughout the play, characters (and there are hordes) exist almost wholly to demonstrate how gifted and mythic our hero is. At the end, he draws his foil on invisible archenemies, which he names off for us: Cowardice, Avarice, Compromise, Stupidity, and so on. Hello, Rostand? Uh,

with wry humour, and the often memorable dialogue snaps through the air with the electricity generated by skilled and confident actors. Colm Feore

livered

provides the requisite braggadocio and passion for the timeless rck of the valiant lover with the low self-image. To

ent. This year’s Stratford production, under the direction of Derek Goldby, brings out those strengths. Colourful, lively crowd scenes flaunt Tim Goodchild’s de-

begin many could

with, how thespians spit out that

much verbiage out tripping

tailed 17th century costumes and exploit his complex, multi-tiered, multiple personality set. The wooden rafters and balconies, lit by candles, and the hustle-bustle of courtiers and cadets help launch the show into the scope and spectacle of a movie, as The nose knows. does the rambunctious stage sparring, orchestrated by John Stead. Goldby has allowed lines to be de-

withover

their tongues? Feore always has theatricality firmly in hand, and his Cyrano is no exception. The one element that is lacking, however, is profundity, and this may account for why his words occasionally rush headlong from his mouth and disappear before they-reach our ears. Feore portrays the largeness of Cyrano’s sensitivity, but doesn’t quite explore its more microscopic

elements. Nicholas Pennell has terrific presence as the nasty Comte de Guiche even when silent, and he is vivid enough about the character’s conversion to Cyrano’s cause for us to accept it. Bernard Hopkins also gives a solid portrayal of the baker who values poetry above bread. But it is splendid Martha Burns who shines the most as the virtuous, admired, shrewd Roxane. Here is the kind of actress we should see more frequently at Stratford. (It’s only her third season.) She commands the Festival space, yet is precise, controlled, and believably intense. Burns is so good, you resent even more Rostand’s failure to follow through with her role, to make the promising Roxane truly active in

her own destiny. One casting decision is annoying. Several times, actors play Cyrano’s bitter rivals in one scene, then return a short while later as new characters, this time his ardent supporters. It is most noticeable in the case of former UW student John Watson, who appears in his double and diametrically opposed roles only minutes apart, having spent a few seconds offstage donning a mustache. Surely this double-casting is not consistent enough to be symbolic. But if it’s a result of cost-cutting, with all the funds that were evidently siphoned into the show’s technical aspects, the convention is ridiculous.

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d

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Pirates of Penzancc directed by Brian Macdunald Festival Thea&e May 9 to November 12

by Craig Nickerson Imprintstaff ilbert and Sullivan’s nineteenth century operetta The Pirates of Penzance is a rollicking celebration of the absurd. It tells the story of Frederic who was mistakenly apprenticed to a pirate king as a boy. Frederic’s keen sense of duty has compelled him to fulfil his role to the best of his abilities but now, about to turn 21, Frederic will be released from his indentures and then duty-bound to exterminate his former shipmates in the name of justice. What follows is a series of unlikely and paradoxical events involving naively kind-hearted pirates, a love story, a MajorGeneral and his many beautiful daughters, a climactic battle with keystone kops and a happy ending. All of which serves as an excuse singing, dancing and broad physical comedy. One expects such a production to be vigorous and busy to the point of excess. The Stratford production does not disappoint. In addition to the material penned by Gilbert and Sullivan, the Stratford production of Pirates includes a wrap-around story about a 1930’s movie studio filming a Bri ti sb theatre company’ s performance of The Pirates of Penzunce. In theory, utilizing the device of a play within a play should enhance the freewheeling silliness and confusion which is the essence of Pi-

G

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this case it often does. However, the added material is a hit-and-miss affair. Tom Wood (who also wrote the extra material) is quite funny as the tyrannical film director Heinrich Von Schtompinc. His intrusions on the action of the playproper screaming “nein! nein! more flesh!” do elicit big laughs from the audience and the false start at the beginning is priceless. Unfortunately these intrusions do become somewhat counterproductive, at times slowing down the pace of the production rather than enhancing it. The bit after the finale seems pointless and is not all that funny. However, even when the additional material fails it does not seriously mar the rest of the production and when it works it works well. The cast is excellent and the entire show is well choreographed. The stage is often crowded with actors dancing, stagefighting or simply running around the sets giving the impression of an organized chaos which must have taken a great deal of time and effort to achieve. There are also several nifty “special effects” including the mast of a pirate ship rising out of the floor and a plane crash. Colm Feore cuts a dashing figure as the boisterous though somewhat gullible pirate king. Bradley Rudy displays a prowess for physical comedy as the Sergeant of Police and, with his talent for tongue-twisters, Douglas Chamberlain is the very model of a modem Major-General. With its nifty sets, coloutil costuming, and elaborate song and dance routines, Pirates is likely Stratford’s most enjoyable crowd pleaser this year. An Eticket ride.

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of perfection that does not exist” sights bassist Dean Dinning. I’m not too sure about the perfection part, but the album is good and worthy of a listen. The first single “Fall Down” describes someone that fails to step in and help a friend who’s life is falling apart. The appealing harmonies as well as the finely tuned guitar parts make this one of the many stand-out tracks. Many of the songs on Dulcinea have that familiar folkrock twang that bring names like The Waltons, and Harry Chapin to mind. Guitarist/songwriter Todd Nichols makes for a pop-twang “Inside” 0l-l and a raspy poetic feel to “Begin” as he takes the vocal spotlight on both of these tracks. Both are excellent songs which maintain the Toad feel but also add the needed variety to the other ten songs. “Fly from Heaven” is the first track of Dulcinea which happens to be one of the few uptempo numbers of the album. Similar is the straight ahead folk-rock of “Something’s Always Wrong” which is my personal favourite from the album. Not a masterpiece by any means, but definitely a good album that deserves to be heard.

by Pat Merlihan Imprint staff Coining their name from a Monty Python sketch in their teenage days when Toad The Wet Sprocket was just a garage band, the long road to success has finally come. Dulcineu, their fourth release to date, is assured to hit a sweet note for the band and fans alike. From the inciteful lyrics exploring different themes of alienation, and life after death to humourous stories that they have experienced, the Toad has grown lyrically as well as musically. The guitar noodling with the help of the strongly influenced acoustic appearances really give an edge to Dulcinea. The concept stems from a story of Don Quixote’s love for a woman called “Dulcinea” as he sees her as a beautiful and wholesome vision when in reality she is none of those things. The album as far as the music is concerned is “beautiful,” it is also mostly mellow, soothing, and relaxing to listen to; “it is an ideal

-

--

--

Imprint

Verve’s brand of drawn-out contemporary psychedelia. Indeed, the live version of “Gravity Grave”, included here from the Glastonbury ‘93 festival fair conjures an image of “mad” Richard Ashcroft pr&cing dementedly in front of the audience, like a pup-

staff

There is a record company based in New York city called Verve records, which, except for the Velvet Underground, is mostly comprised of obscure jazz artists. There is a from band Wigan, England who were called Verve, a word in the dictionary meaning a certain kind of Zest or Flare. I The record company thought that people might confuse Verve, the jazz label, with Verve the Wigged-out Wiganites. This is truly a farce. Firstly, since when did a label get to copyright a word? And secondly, how on earth could anybody not completely baked out of their mind on illicit substances confuse Verve the band with Verve the label? This compilation qualifies, somewhat dubiously, as the Verve’s second long-player. In fact, it is really a collection of Bsides and out-takes, taken mostly from singles. On the whole it shows the more mellow side of

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pet on Ether. Many of the songs included here are quiet, pastoral acoustic numbers that recall Pink Floyd’s “Grantchester Meadows”, more

by ChrisAldworth Imprintstaff Tribute albums seem to be all the rage as of late, so who better to pay homage to than rock pioneer Neil Young. This is actually the second tribute album of Neil Young material. The Bridge came out in 1988 and had alternative bands like Dinosaur Jr. covering “the godfather of grunge.” This time around the honour of rehashing Young material goes to a wide range of Canadian artists. Borrowed Tunes is comprised of the acoustic Out Of The Blue and the electric Into The Black, which showcase both sides of Neil Young’s songwriting. Like the previous tribute album all artist royalties and record company profits are being donated to The Bridge School and Safehaven Homes for physically and menThe tally challenged children. Bridge School was founded by Neil’s wife Peggy in 1986 to help disabled children. In 1978 Neil Young’s son Ben was diagnosed as having cerebral palsy and Neil’s oldest son Zeke was also born with a mild case of cerebral palsy. Like any tribute album, this one has its fair share of both good, bad and ugly versions. Fortu-

than the shoe-gazer-ish (is it really such a bad word?) A Storm in Heaven. For the uninitiated, here’s what Verve sound like: long, Iatenight sounds to widen the iris without chemical injections. Most of their songs run at more than five minutes, and are about as much a party band as Leonard Cohen at the beach on a long weekend. The album No Come Down is quiwith eter, like pieces “Butterfly” and “Make it till Monday,” found on A Storm in Heaven, being played here “unplugged,” if you will. For those who don’t know Verve, don’t start off with this one. Start off with The Verve EP, and then move to A Storm in Heaven.

nately the good outweighs both the bad and the ugly. The good include a beautiful version of “Pocahontas” by Crash Vegas, The Skydiggers’ “Mr. Soul,“the Jeff Healey Band’s “Harvest” and Amanda Marshall’s heartrending version of “Don’t Let It Bring You Down.” The bad include “Birds” by Jann Arden and the Waltons’ “Only Love Can Break Your Heart.” The ugly award goes, hands down, to Wild T and the Spirit and their horrible version of “Down By The River.” The Canadian artists on this particular collection come from every corner of the musical spectrum. Country singers Jim Witter and Cassandra Vasik cover “Human Highway,” grunge hHead band tackle “Look Out For My Love” and rocker Andy Curran cranks up “Cinnamon Girl.” Back from the dead is David Wilcox with his rendition of “Transformer Man.” Fellow rock dinosaur Randy Bachman hammers out “The Loner” and strange animal himself Lawrence Gowan does an adequate job with “Heart Of Gold.” This compilation turns out to be a who’s who of the Canadian music scene. Performances by up and coming bands like Rose Chronicles, One Free Fall and Treble Charger are found side by side with mainstays like 54.40, The Rheostatics and The Cowboy Junkies. If you like Neil Young or like Canadian music then pick this up.


ARTS

Imprint, Friday, September2,1994

by Pat Imprint

Merlihan staff

Soul Asylum’s latest double-platinum success with Grave Dancers union launched a side project for a live album together that is sup-

B25

expected of a live album, but doesn’t make up for that with energy or emotion. The EP features six live cuts recorded Erom shows in California, Texas, and New York. Both “Somebody To Shove,” and “Stranger” were taken from MTV’s Unplugged and are the weakest songs of the six. The ochestral movements of “Somebody To Shove” are possibly misplaced tracks from Buffalo Philharmonic sessions because it just doesn’t work here. Other live takes inelude “Without A

ally

Been,”

and of

Train,” all of which lose the intensity and emotion of the studio

that, this album will put you to sleep in no time at all. It lacks the lustre and finesse of Grave Dancers Union which sometimes is

by Chris Imprint

Aldworth staff

Ever listen to a song that reminds you of something else, but you just can’t put your finger on it? The mega hit “Shine” is exactly that song. It is incredibly catchy, with that feel like you have heard it before. Collective Soul and their debut album Hints, Allegations And Things Left Unsaid is in a way like McDonalds food. McDonalds food is horrible but it has a sense of familiarity about it. Even though it is crap, when you are on the road and hungry, most people look for the golden arches to fill their stomachs. There is a sense of comfort with something you have had time and time again, even if the quality can be called into question. You always know what is on the menu and what you are getting before you get there. The music of Collective Soul is just like that burger from McD’s. It fills the void but never serves up anything sate to your appetite. There is nothing new but that fact is cleverly disguised with some fine song writing.

p to expectations, nor does o Soul Asylum any justice incredible live band that they have been known to be. May be a nice collectors item for the avid fan, but 1 think it would make a better coaster.

Collective Soul has an early eighties sound to it which brings to mind bands like Loverboy, Trooper, Cheap Trick and April Wine. The odd thing is that Collective Soul accomplishes much more in one album than what the later bands failed to do over the course of their careers. I’m not sure if that is a compliment or not. Collective Soul is cheesy rock, but it has a certain appeal that just can’t be ignored. When this is coupled with the fact that all the songs are so familiar sounding Hints, AIZegations is not a bad debut album. “Shine” is by far the highlight of the album. This _ song seems to be everywhere and music programmers can’t decide whether it’s classic rock or alternative music. Either way a search to find anything else of the same calibre on this album would only end in futility. There are a few other strong tracks like the bluesy “Sister, Don’t Cry” which has a Black Crowes feel to it. “Wasting Time” and “Goodnight, Good Guy” are both fine cuts but by the fifth song the schlock begins to come through loud and clear. “Love Lifted Me” and “In A Momerit” are sad attempts to be Honeymoon Suite and “Breathe” is so similar to the Indigo Girls “Closer To Fine” there could be a lawsuit in the near future. Enjoy the highs of Collective Soul but don’t be afraid to hit the off switch when you get a yearning for Trooper.

by Sandy AtwaI Imprint staff Despite the popularity of their initial hits “She’s On It” and “Fight for You Right to Party” and the funkified brilliance of Paul’s Boutique, the Beastie Boys’ sound has now been largely redefined by the success of Check Your Head. Thus, the almost carbon-copy of that album which is III Common icatian. However, Ill Communication proves that a simple copy of a previous album is not enough. While there are some great songs here, the shorter instrumental pieces and samples simply lack the novelty that

by Greg Imprint

Krafchick Staff

This album seems to have been one of the most critically acclaimed releases of the past six months or so, and all of the hyperbole is with good reason. Here we have a band that could only be English; no one else could sound this depressed and moody. The Tindersticks invoke memories imagery of smoky dives, of rainy nights spent looking out the window at the street below, or whatever sort of tableau you care to mention. Theirs has been an interesting ride to fame, with tons of very limited edition releases through late ‘92 and ‘93, all of which sent critics searching through thesauruses and musical anthologies in an attempt to describe and ultimately praise this unique band. This has resulted in lead singer Stuart Staples commenting in an Imprint, interview recently that his band has been, to his knowledge, compared to 37 others at various times. I think the best

was there the first time around. At the risk of copping some black lingo - it’s just not fresh. Check Your Head was pretty much great from start to finish. It took a while, but after a while, it was clear that there were lots of none-single hits, from Finger Lickin’ Good to Professor Booty. On their new release, however, instrumentals like “Bob0 on the Corner” and especially “Sabrosa” drag on for far too long. Ironically enough, when this album came out, some people were commenting on how songs like “Sure Shot” the B-Boys had suddenly discovered some new politically-correct awareness with lines like “The disrespect to women has got to be through/ To all the mothers and the sisters and the wives and friends/ I want to offer my love and respect to the end.” Well that’s all fine, but tell that to the guest rapper on “Get it Together” (I think it’s either Q-Tip or Biz Markie) who raps “Listen to the ladies come on and let me spawn/ all your eggs then you go up the river/ Iisten to the abstract that freaky nigger. . ,‘I Anyway, a bit of misstep by the Beastie Boys all in all, but there’s no doubt that next time, if they try and build even further up on what they’re doing instead of copying past successes, they’ll continue their well-deserved reputation as the only white boys who can rap.

analogies can be made with Nick Cave, Velvet Underground, Tom Waits, or even American Music Club. All of these comparisons however, never actually match the band, because they take elements of all of these and turn it into something almost without musical precedent. There’s violin and organ and piano in the mix. There’s Stuart’s deep throated rasping over the music, echoing the sense of introspection and loss within. Over nineteen tracks it can prove hard to pick out favorites from such a solid work, but “Marbles” certainly is one. Awash in a guitar riff mirroring the sense of epic disappointment in the lyrics, one can tell why this song made N.M.E.‘s top ten singles list last year. Then there’s the gorgeous piano meanderings of “Raindrops,” or the slight intensity of “Milky Teeth”...the list can go on and on. Summer is not typically the time to listen to this type of music, I know. But come September or October, when you’re sitting at home, tea in hand, reading a book and watching the leaves fly by on a cool, windy, overcast day, you’ll want to keep a band like the Tindersticks in mind. Look for this album on critic’s “Ten Best” lists at the end of this year.


B26

~

ARTS

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The joining of dance-hall reggae and hip-hop is the focus of this compilation CD. Shabba Ranks has lead this type of dance music into the club scene but his following is far behind him+ Most songs on this CD are not even worth listening to let alone being played in clubs. Two Bob Marley tracks, “I Shot the Sheriff’ and the title track “Stir It Up” are poorly remade bY Annette Bisset (from the group Calabash) and Diana King respectively. No one can touch the magic of Marley even if you are Jamaican like these two singers are. Late night talk show musicians such as Michael Wolff from the Arsenio Hall Show and Branford Marsallis from Jay Leno’s Tonight Show also make

~~~

Imprint, Friday, September2,1994 an appearance on Stir It Up. “No Happy Endings” by Michael Wolff contains jazzy keyboards that sound pretty cheesy and seem to clash with the rapping of K. Dean which is the song’s strongpoint. Branford Marsallis teams up with Blackheart under the name Buckshot LaFonque to create a song that sounds a little more professional and less commercial than Michael Wolff s bad attempt. “Wonders and Signs” is a mellow jazzy number with non-stop reggae rapping overlays. It’s one of those driving home after a long night songs that puts you in just the right mood to go to sleep, On the only positive note, Tony Rebel’s “Party Jam” is a quick and catchy tune that will ring in your head for days. He sings the chorus to the same tune of “Rock Around The Clock.” Other artists that appear on Stir It Up are Carla Marshal, Ninjaman, Kinky and Pinchers, to name just a few.

gents, all of which definitely reinforce the musical talents of this four-man combo. From the zydeco influences of “Angel To Be” to the heavy by Bill Sharp blues sounds of “Late At Night” special to Imprint with its heavy Stevie-Ray electric guitar, the variation just keeps Where the HELL did these coming. And the album ain’t even guys come from! a third over No, no, I mean Lm The alI j u b ,j u if’;?@@c yet. bum finishes other than their __ home city of Fort off with the Collins,’ Cololikes of the With a ‘soulful rado. sound “Sugar Pie” blues something like a and “It’s So I Hard,” the latcross between ter combining Steve Winwood, a Marvinthe Fabulous Gaye-HeardThunderbirds, and Crosby, Stills, Nash and it-Through-the-Grapevine Young, these guys should be way rhythm with vocals reminiscent of Sly and the Family Stone. bigger than they are. This album is definitely worth The album’s first track, “(You’ll Be) Satisfied,” sets off checking out, even if you just on a fast-paced Winwood type peruse it briefly at HMV’s rear listening station. It deserves a note that sets the tone for the rest of the songs. The rest of the al- place of honour in any extensive bum goes off on a variety of tan- CD collection.

by Greg Imprint

Even before opening the CD and putting it on, I could see that this was going to be good. First off, they came up with the best cover I’ve yet to see on one of these ‘NY camps (what was the deal with the eyeglass contraption last year?), and a quick scan of the bands showed that, unlike last year again, they have come up with a list of acts that potentially could go places, and put out good music. Created to help up-and-coming indie acts with their careers, the CFNY Music Search has done just that. Alumni of the camp include hHead, One, Rail T.E.C., King Apparatus, Wild Strawberries, and of course Barenaked Ladies, all of which now have major-label deals. The trick for the organizers has always been to sift through the hundreds of tapes they get each year, and put together a collection of what is hopefully the best, and happily this year they have generally succeeded. Another criticism leveled at this project last year was its tendancy to put rather big names on, who were not desperate for publicity, just to sell discs. I mean did Lowest of the Low really need the exposure, or Sara Craig or hHead for that matter? This year, the name dropping is restricted to Change of Heart, and instead it seems already that bands are getting more exposure than they ever could have hoped for without the collection. They deserve it too, for this is an extremely strong release, revealing exactly how strong the Canadian music scene has been getting as of late. Particularily strong talents include treble charger with a Neil Young influenced “Red,” Anyhowtown sounding a lot like new British popsters Echobelly on “I Am Found,” An April March appearing extremely Cocteauesque on “Lava,” and Hamilton’s All Good Children going right crazy and sounding very diffcrent with “I Think of You.” Then there’s “Dana” by Doughboys wanna-bes Killjoys (with the fantastic line “I’m walking on eggshells

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Imported to the US from Germany, Fury In the Slughterhouse presents MONO, their American debut album. Hardly new to the music scene with three full length albums, but recently they have been turning heads in the US. MONO is a uniquely familiar blend of indie rock, bluesy pop, post-punk, and fold without pretension. Despite the chilling wording in songs like “Dead before Iwas Born,” Fury tries to avoid the swarthy, sombre musical fashion which lands them somewhere between Pearl Jam and the

Cure. “Money Rules” has musical lightness and “Dead before i was Born” has spright chord-crunching combined with dreamy keyboards and a rytiunic drive. Tunes like “Friendly Fire” and “The Brainsong” control the album’s pace with their acoustic turns. “Radio Orchid” is a lament about an old woman whose husband dies, which is soon to be another alternative fave. “Every Generation Got Its Own Disease” sadly ends up being one of the weaker numbers. This track is forbearant and moody, with a ‘90’s battle cry chorus. Il/foNO is a unique blend of whining

about

reality

with

a

splash of hope. Fury In the Slaughterhouse isn’t just a “Flavour of the Month.” It’s a band on its way to the top and is gaining respectful audiences everywhere.

Krafchick Staff

uver Q mountain

of molehills”),

made out

EMF heirs Velveteen doing “Inside,“S ara Craig meets the Smiths Groovelust (they’re better than their name) singing “Fly,” and yes the Change of Heart song is quite good. As always there’s anomolies, such as the Pearl Jam imitators Crawl, or (sorry) the usual funkrock from locals Groove Daddys (good guitar riff though). This is nitpicking though, as of out of seventeen songs, at least eleven are quite solid, and together form the best CFNY compilation I’ve yet heard. For the measly price of ten bucks you can support some fine new talent, and have the money go to charity. Hey...sounds good to me.


Imprint, Friday, September2,1994

ARTS B27 a

their distinctive hits like “Sisters

edge. Many of the early Of Mercy,” “Joan Of Arc”

I

and “One Of Us Cannot Be Wrong” are there in body but not in spirit. The moodiness from the studio albums is gone and by Chris Imprint

Aidworth staff

I I I

some

Artists ranging in diversity from Judy Collins and Joe Cocker, to R.E.M. and The Jesus and Mary Chain have covered the work Of Leonard Cohen, Renowned Canadian poet Leonard Cohen, has been around since 1968 setting his unique lyrics to song. For most of his career Cohen has been a fringe artist, yet he’s still maintained a large cult following for his poetry and music. Although the deep gravelly voice of Cohen is not for everyone, (and indeed it has been questioned if he is a singer at all) Cohen’s writing instills a sense of longing in the listener. Themes of love, death and betrayal are continuously found throughout his material. Cohen’s writing is always top notch so the choice to put out a mediocre album of live material remains a mystery. Cohen Live is a greatest hits collection which compiles many of Cohen’s most loved songs. Recorded during his 1988 and 1993 world tours, all the crowd pleasers can be found. Unfortunately in a live setting the majority of these songs loose

of the songs almost sound upbeat. The majority of the 1993 material is taken from a show at Toronto’s U’Keefe Centre while the I988 tour material is recorded from an Austin, Texas show. Cohen runs through material dating right back to his l&S3 debut.

of “Suzanne”. The same is true of “Bird On The Wire,” an offering from 1969’s Songs From A Rum. Cohen includes material right up to 1988’s I’m Yuur Man. Splendid versions of “I’m Your Man” and “Everybody Knows” are found. Surprisingly though, no material from 1992’s The Future is included. This is odd considering the 1993 tour was in support of this album. Cohen is widely respected by the music community and many musicians have found inspiration in his writing. The cult status of Cohen among musicians is only rivalled by the love of Shonen Knife by bands like Sonic Youth, Nirvana and Redd

Kross. When he should be forging forward, Cohen instead relies on past accomplishments to get him through, making this a less than top notch effort.

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B28 They have opened up for various large-scale bands like The Ramones, Motorhead and even Def Leppard. Huw by Joe special

Presutti to Imprint

l

Terrorvision, if you have never heard of them, are a heavy guitared pop band from the U.K..

To Make

Friends

And

mfluence People is the follow up to their first release Formaldehyde which was put out last year. This would not be a bad CD except that the lyrics are very STUPID. The words are very cheesy and rhyme for the sake of rhyming. In “Alice What’s the Mat-

Imprint, Friday, September2,1994

ter,” which would otherwise be a great song, singer Tony Wright goes on to sing ‘Something ‘bout you, something ‘bout me, something ‘bout a, b, c, d, and e.’ “I feel like shit and look like plastic” is more Terrorvision poetry found in “Middleman.” Get a life Tony. There are a couple of good songs that make the CD worth listening to. If you listen to the catchy guitar riffs and not the lyrics, then you’ll appreciate it so

much more. “What the Doctor Ordered” sounds like a Metallic tune at first, Wright even imitates James

one-dimension4

tune that contains an annoyingly catchy “do wop, bop-ba do wop” that made the 50’s music scene so distinct. However, “Middleman,” and “Ten Shades of Grey” are very cheesy songs. How To Make Friends And hjhmce People rarely loses its

hard to make out what the people are saying because it sounds like everyone is talking through a distorted megaphone. Perhaps it contains some special hidden message like, “You’ve just been ripped off for buying this CD”

by Blair Nicole special to Imprint

From the ‘Dominionites of Obscurity” files, this Massachusetts band’s 1989 self-titled

unclassifiable music which “q grows-and feeds-on you. As a bonus, there are also tracks on both discs which attain decency, even to the mainstream ear. About half the songs between the two albums are pretty off the wall and have got weird themesalien embryos, sodomy, playing Nintendo with Death, etc.- but don’t let that scare you. The albums have some good tunes hidden behind mostly disturbing ones.

The embracable ballad “Upside Down” starts the self-titled on an uncommonly mature note, and practically strangles you into singing the “I’ve given up on the

:.*

happy-go-lucky

feeling throughout its thirteen tracks. The last song features a hidden

outside...inside too...up on you” chorus. The song’s bittersweet lyrics are juxtaposed with deliciously upbeat and rich rock. It truly deserves a place in any dxinkingkstablishment’s music-library, and a courageous d.j. might even play it as something new and fun instead of the usual overplayedrotation crap. Demand it! Off the Freezerburn

even more exciting and ends the CD in a cataclysmic, end-of-theworld guitar playing. Every song (exceptions being “Seed” and “Upside Down” with the drone of good drum playing and impressive guitar and bass rhythms) Nakajima embarasses the band with a voice that even a REALLY drunk karaoker would be ashamed of singing with. They should’ve put a warning sticker on the CD saying: “For best results, listen to the albums while under the influence”, because that was likely how they were recording it.

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&r&h&d from, or heard tar numbers on tunes like , “Wasted,” the picking of “Five @f .in ,this part of the tundra, &Iaiiy Star’s seductive SO TO- String Serenade,” the distorted guitars of “Mary Of Silence,” ‘night That I &fight See is a stunning album to follow-up their and “Bells Ring,” and combined strum-distortions of “She’s My 1990 debut 2% Hungs Bright&. Baby,” all add to the mysterious Emerging from the California music scene with a taste for ex- ’ voice qf Sandoval. “Blue Light” perimental music, they drew an is better than the beer - it has a almost c&like fan base imme- : Cowboy Junkie feel that could be further cotiplemented with a diately. Primarily consisting of Hope couple of burning candles+ Their original sounds comSandoval on vocals and David Roback blending his psychedelic bine everything from a country acoustic fulk guitar; this team strum and a bluesy wail, to rough soun&ng distorted guitars, givhas ‘written a collection of songs that are guaranteed to give you a ing a waspy haze of psychedelia haunting feeling that will seep to the album. Break out the incerise and lava f&@s for this under your skin. Sandoval’s vocals are com- because this stqr ,_is., shining . parable to a combination gf bright, _. I


Imprint,

“Say

by Chris Aldworth Imprintstaff Hailing from Montreal, the Snipes create some good old fashion guitar rock along the lines of the Tragically Hip or the Watchmen. The music -is not exactly original but it does make for some tin listening. Lead singer John Marsh, is ever the chameleon, sounding like Gordon Downie one minute, Chris Cornell the next. The lead off track “Open Your Eyes” has some fme guest vocals by Karen Tyler Morrison which sound lends itself to more to Crash Vegas. “Payback” is reminiscent of Soundgarden and “I Don’t Know Why” could be the Counting Crows. The fkdcy

riffs of man.”

“Sil~ergun “Twelve

B29

ARTS

Friday, September2,1994

What”

will

appeal

hated 1 (they Marcella put

to fans of

the Spin Doctors. This release seems to be going in far too many directions which is often the case for new bands. Hopefully next time out The Snipes will pick a definite direction to pursue. It is nice to have influences. It is even okay to wear your influences on your sleave. Eventually though, 1n A Sly And Underhanded Wuy begins to wear on the listener. There are far too many influences scattered throughout and not enough of The Snipes forging their own sound, Otherwise this is not a bad start. The entire release is very listenable but let’s hope that the Snipes begin to develop their own sound sometime soon. This Quebec quartet are full of raw talent that desperately needs to be developed. Aside from the scattered sound this is a fine outing from a band that should soon put it all together.

by Pat Merlihan Imprint staff Having never heard of Marcella Detroit, yol would probably be surprised to find out that she co-wrote Eric Clapton’s “Lay Down You wouldn’t Sally.” be surprised to find out that she has written songs for Belinda Carlisle though because Jewel follows that trend of slow crappy pop muSIC.

Former actress gone singer and songwriter, Marcella Detroit has a solo debut album that is guaranteed to turn a really bad case of insomnia into a deep sleep. In recent years she joined Siobhan of Bananarama and formed Shakespears Sister which had moderate success garnering a couple of top ten hits in the U.K. Disbanded now because of “differences”

J

SupetGracious

taken leaps and b&nds from’ their debut,that wi%!give them the respect that they rightly have earned. ‘; 2

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each

other),

together an alum of el&ator-music that is sure to get on your nerves. To be fair the first single “I Believe” isn’t all too bad for G&M-“i a worthless, slow, shitty, LA LA, poppy kind of sound. The first minute and a half of “Jewel” isn’t too bad either, but just turns into another crappy pop tune. Using Elton John as a ringer on her cover of “Ain’t Nothing Like The Real Thing” doesn’t help things either. Not only is it a shitty song in the first place but secondly, so is Elton John. The rest of the songs are just crap and nothing less than embarassing for someone who has written a couple of good tunes over the years. Jew4 will be packing the deleted bins in record stores in no time. Buy this and you get what you deserve.


B30

by Sandy Atwal Imprintstaff For the past decade and a half, Killing Joke frontman Jaz Coleman has made a career out of

redefining intensity. In live settings and on record, Coleman has mixed a doomsday mentality with a pathological interest in Middle Eastern mysticism -- and a seemingly honest desire for another world war -- to create a genuinely original musical style. The music plays as important a role in Coleman’s world as his political/moral fixation. With guitarist Geordie Walker and

various drummers and bassists (Killing Joke’s line-up changes are a bit of a nightmare) Coleman

ARTS has had vario us partners with whom he can constantly re-invent the Joke in his image. In many ways the progenitors of industrial music, their eponymous debut set the stage for a mixture of hardcore and punk with a

Imprint, Friday, September 2, 1994

Brighter than a T/iwsand Suns were essentially Jaz solo albums -- Killing Joke have never halted in their

de-

sire to push the envelope of passion and power in music. Their newest release Pan-

driving

demonium

rhythm section and mutilated, sometimes intelligible, lyrics -- a path they haven’t strayed from

follows one of the longer breaks in Killing

all that much. Except for the brief

Joke’s

missteps

--

‘87’s Outside the Gate and ‘88’s

techno-dementia of ’ Whiteout.” Constantly changing rhythms and beats over Coleman’s screaming, it pushes techno over the edge of the abyss. Lyrically, Jazhas moved back to using metaphors, symbols and allegory reminiscent of earlier albums like Fire Dunces. While this does work better with the music at hand, it’s still not quite as revealing or forceful as the pointed, focused vitriol Coleman used on Dirt, Exl

Various pressed

Re-

Emotions. Regardless, the Iyrits are pretty much unintelligible except for the odd “l3ehind the illusion of reality are forces that speak to me” (“Exorcism”) or “I can see tomorrow, hear the pandemonium” (“Pandemonium”). However, a song like “Jana,” which at first just seems like a slightly less manic contribution to the album, is a moving lament to an AIDS victim. While this may at first seem like an attempt to “cash in” on a topical subject (or at the very worst exploit a tragedy) Jaz manages to puI1 it off because, as the rest of this album (and the rest of his career) shows, everything Coleman does is always undertakcn with a driving and sin-

crea-

tive output, In the three years since their masterpiece Dirt, Extremities and V&-iuus Repressed Emotions, Killing

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Joke have once again destroyed all pretenders to the throne, Ministry, Nine Inch Nails and KMFDM have about the same chance of releasing an album as intense and domineering as Pundemonium as a thousand monkeys have of putting a man on the moon. The most obvious change between this Killing Joke and various other incarnations is the lack of a drummer and the return of original bassist-cum-blockbuster producer Youth. As a result, the sound of the album is

ample of this is their sudden propensity to release singles. Previously only dabblers in the realm of remixing, Pundemonium has seen the release of three singles (four really, since the “Pandemonium ” single was released in two parts) with each one bragging four or five remixes of the title track. The height of such . remix madness is the :’ supposed eighty(!) minute version of the first single “Exorcism.” On the album i version, definitely a

and domination are just words, and Killing Joke work that although the mu..+;:within a realm which must \ - % be experienced first hand. sic has taken on a 6 . much more intricate Trade in your copy of path compared to previPsalm 69 and Pretty Hate Maous minimalist song structures, chine, they are but false messenhe can still scream with the venom gers. Only The Joke can deliver. Coppula earn se non posit and insanity to match. The most Youth-influenced track is the acceptera jocularurn!

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MANAGEMENTSYSTEM FOR STUDENTS Designedas a tool for students to help manage time and information.SlMS works by breakrng down your workload into smaller, more manageablepjeces. l SemesterGuide l Weekly Outliners l Course Organizers l Assignment Planner 9 TelephoneList l Instruc?ionBook SIMS: 24” X 36” WALL PlARNER Continuous18 week laminatedcalendar,with non-permanentmarker included,also $14.98! SthlS: Your ELUZPRINT tu Academic Success - THIS SEMESTER!

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Volunteers

University ueights Secondary School needs volunteer tutors to work one-toone with students at upgrading their basic skills in mathematics. If interested contact David Carter (8850800). K-W Big Sisters needs volunteers 20 years of age or older to work yifh children. Minimum 1 year, 3 hrs. per week commitment required. One on one relationship with girls 4-l 7 and boys 4-l 1. Orientation training provided and obligatory. Next session commences Sept. 13. To-register call 743-5206. “Homework Helpers Needed” Big~Sisters requires 25 students to tutor weekty elementary/high school youth having academic difficulties. Orientation training on Wednesday, September 14 1994 from 7:00-9:OOpm. To register call 7435206 AS.A.P.

Attention 1994/95 Graduating Students! Come to an tnformation Session that will explain the Graduating Student Employment Setvice on Tuesday, September 27 1994”3:30-4;30pm in Humanities Theatre, Repeat session will be held on Wednesday, September 28 1994-3:304:30pm. Sessions will be offered to Science graduating students, September 28-30, 1994. Pre-register in ESC 253. Sessions will be offered to Chartered Accounting graduating students, September 15, 1994-4:3&6:OOpm. AL 116. Call Carol Ann Olheiser at ext. 2482 for info.

Ukrainian Students’ Club - YES, USC is alive and well at UW! For event or club info check our bulletin board outside MC 3001 (Math Lounge) or call Martin Kuchirka at Federation of Students. United Nations Club- Attend International Model UN Conferences at Hanrard, Princeton etc. Must sign-up now for fall and winter. Contact Martin Kuchirka at the Federation of Students office. UW Chinese Catholic Communityweekly Cantonese Bible Sharing in Notre Dame chapel. Time to be arranged. Please call Irene Yue at 725-5281 for more information. At an awards ceremony at the Joseph Schnieder Haus Museum, on May 23rd, 1994, they announced the recipients of their Edna Staebler Research Feilowship - Hildi Froese Tiessen and Paul Tiessen. The award application deadline is September 19,1994. For info call

742-7752. The Student Alumni Association of lJW has planted a tree and placed a plaque in front of the tree for the class of 1994. It has come to our attention that the post and plaque were stolen on May 28. If anyone knows where the post, or culprit is, please inform the Student Alumni Association at 888-4626. Volunteer Fair ‘94: Charitable organizations are invited to call the Volunteer Action Centre for registration information at 742-8610. The fair informs the public about your activities and attracts potential volunteers. Register Now. The fair happens October 14 & 15 at Fairview Park. Sponsored by Fairview Park and Manulife Financial. Music Ensemble Programme, Conrad Grebel College, UW,. Auditions start September 8/94. Rehearsals start the first week of classes, Sept. 12-l 6. Community Blood Donor Clinic on Wednesday, September 7, 1994 130 pm -8:OOpm. at Kitchener Mennonite BrethrenChurch, 19OttawaSt.N.Please call Red Cross at 744-6198 for information. The Student Volunteer Fair is Thursday, September 15, 1994 from 10 to 3 p.m. at the Davis Centre. Meet over 30 KVV agencies who have volunteer opportunities for the Fall!

Scholarship R ’ iI Notices

Applications for the following scholarships are being accepted during the Fall term. Refer to Section 4 of the Undergraduate Calendar for further criteria. Application forms are available in the Student Awards Office, 2nd Floor, Needles Hall. Unless otherwise stated application deadline is October 28, 1994.

ALL FACULTIES: Douglas T. Wright Award - available to all who have participated in an international work placement or a UW international study program. Students to apply upon return to full-time study at UW. Deadline: October 15 each year. Douglas T. Wright Experience in Japan Award - available to all who have participated in a work placement in Japan or a UW Japan study program. Students to apply upon return to full-time study at UW. Deadline: October 15 each year. Tom York Memorial Award - available to all for short fiction - not essays. Deadline: December 31 each year. C.U.P.E. Local 793 Award-available to Union employees, their spouse, children or grandchildren for extra-curricular community involvement. Deadline: May 31,1994. Don Hayes Award-Deadline: January 31, 1995. Mike Moser Memorial Awards- available to third and fourth year students with financial need, exemplary academic record, and a high level of accomplishment in extra-curricular activities. Deadline: January 15, 1995 to Dr. Neil Widmeyer, Applied Health Sciences, BMH.

FACULTY

OF APPLIED SCIENCES:

HEALTH

Mark Fotster Memoriai Scholarship available to 3rd or 4th year Kinesiology. Deadline: January 1995. Andrea Fraser Memorial Scholarshipavailable to 3rd or fourth year Kinesiology. Deadline: October 15,1994. Ron May Memorial Award-available to 3rd or fourth year Recreation. Deadline: October 15, 1994. RAWCO-availabie to 2nd, 3rd or 4th year Recreation and Leisure Studies

FACULTY

OF ARTS:

Arts Student Union Award-available all Arts students.

FACULTY

to

OF ENGINEERING:

Canadian Posture and Seating Centre Scholarship - available to al. Deadline: October 14,1994 Anderson Consulting Scholarshipavailable to 38. J.P. Bickeii Foundation 8ursaries-available to Chemical students. Deadline: September 30, 1994. Canadian Hospital Engineering Society’s Scholarship-available to 3B. Consulting Engineers of Ontarii Schok arship-available to ali 3A. John Deere Limited Scholarship-availabk to al 38 Mechanical. Deican Scholarship-available to all 4A Civil. Randy Duxbury Memorial Award-available to all 38 Chemical. S.C. Johnson 81Sons Ltd. Environmental Scholarship-available to 3rd. year Chemicat. Deadline: May 31, 1995. Noreen Energy Computer Science, Chemical and Geological Engineering Award-available to Geological and ChemicaI year two or above. Ontario Rubber Group/Rubber Chemistry Division, CIC Award-available to all 3B. Deadline: September 30, 1994. Marcel Pequegnat Scholarship-avaiiable to 38 Civil, Water Resource Management students. Jack Wiseman Award-availbale to 38 or 4A Civil. Deadline: September 30,

FACULTY ENVIRONMENTAL

OF STUDIES:

Shelley Eiiison Memorial Award-available to 3rd year Planning. John Geddes Memorial Award-available to ERS, Geography and Planning.

Green & Nogue Award-available to 4th year Planning-see Department. I.O.D.E.-Applied Ecology Award-available to all fourth year. Deadline: September 30, 1994. Marcel Pequegnat Scholarship-available to 3rd year Environment & Resource Studies, Planning, Water Resource Mgt.

FACULTY

OF MATHEMATICS:

Anderson Consulting Scholarshipavailable to 3B Math. Eiectrohome 75th Anniversary Scholarship-avaialble to 38 Computer Science. Noreen Energy Computer Science, Chemical and Geological Engineering Award-available to Computer Science year two or above. 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 81Sons Ltd. Environmental Scholarship-available to 3rd year Chemistry. Deadline: May 31, 1995 Ontario Rubber Group/Rubber Chemistry Division, CIC Award-available to all 38. Deadline: September 30, 1994. Marcel Pequegnat Scholarship-available to 3B Earth Science/Water Resource Mgt.

Library Workshops Thursday, September 8- Tours of the Dana Porter and Davis Centre Libraries: 10:30am & 1:30pm. Meet at the lnformation Desk(Library). Tours of the University Map and Design Library: Available upon request. Ask at the Public Services Desk, ESl, Rm.248. Friday, September 9- Tours of the Dana Porter and Davis Centre Libraries: 10:30am & 11:30am. Meet at the Information Desk(Library). Tours of the University Map and Design Library: Available upon request. Ask at the Public Services Desk, ESl, Rm.248. Monday, September 12-Tours of the Dana Porter and Davis Centre Libraries: 10:30am, 11:30am, 1:30pm & 2:30pm. Meet at the Information Desk(Library). Tours of the University Map and Design Library: Available upon request. Ask at the Public Setvices Desk, ES1 , Rm.248. Tuesday, September 13- Tours of the Dana Porter and Davis Centre Libraries: 10:30am, 11:30am, 1:30pm & 2:3Opm. Meet at the Information Desk(Library). Tours of the University Map and Design Library: Available upon request. Ask at the Public Services Desk, ES1 , Rm.248. Library Information Sessions for Graduate Students: Dana Porter Library I :30pm. Meet at the information Desk (Library). Wednesday, September l4-Tours of the Dana Porter and Davis Centre Libraries: 10:30am, 1 t :30am, 1:3Opm & 2:30pm. Meet at the Information Desk(Library). Tours of the University Map and Design Library: Available upon request. Ask at the Public Services Desk, ESl, Rm.248. Library information Sessions for Graduate Students: Davis Centre Library 1:30pm. Meet at the Information Desk (Library). Thursday, September l5- Tours of the Dana Porter and Davis Centre Libraries: 10:30am, 11:30am, 1:3Opm & 2:30pm. Meet at the Information Desk(Library}. Tours of the University Map and Design Library: Available upon request. Ask at the PublicServices Desk, ESl, Rm.248. Library Information Sessions for Graduate Students: Dana Porter Library 10:30am. Meet at the Information Desk (Library). Friday, September 16- Tours of the Dana Porter and Davis Centre Libraries: 10:30am & 1:30pm . Meet at the Infor-

mation DesK(Libraiy). Tours of the University Map and Design Library: Avail-

able upon request. Ask at the Public Services Desk, ESI, Rm.248. Library Information Sessions for Graduate Students: Davis Centre Library 12:30pm. Meet at the Information Desk (Library).

Computer IBM clone, model XT, two 5 5, 114 drives, DOS 4.2, Wordperfect Goldstar monitor. $200 or b.o. Call 746-

6807.

286 computer, excellent condition. 40MB HD,l MB RAM,3.5”/5.25” drives. WP 5.1 Monitor not included. $400. Eveninas. 658-l 340.

RAMROD an acronym : R=Repairing; A=Appliances; M=Microwaves; l&Refrigeration; 0= Other; D=Devices. RAMROD APPLIANCE. 10% Students Discount. TEL 888-7830. Washer & Dryer with 1 year guarantee $380.00.

High School basketball refs wanted. Flexible hours. Meeting 7 pm,Monday, Sept. 12/94 at St.Mike’s School on UniversityAve,(acrossfrom W.L.U.) orcontact Btvan at 745-4727.

2001 Futon A Bit Better Computers Adults Only Video Adventure Guide Al Madina Egyptian Cuisine B&D Deliveries Barron Opticians Braun’s Bicycle Burger King C.A.R.E.Centre Campus Pharmacy Carry On Comics Chris Edgar City of Waterloo Club Abstract Club Mill Cobblestone Gallery Columbia Sports Medicine Clinic Computing 2XS Crafts of the World Cycle Path Dairy Queen Data Store Data Comm Dr. Disc Dragon Palace Ears 2 Wear East West Futon East Side Mario’s Environmental Studies Coffee Shop Fairview Acura Fas tbreaks Federation of Students Full Circle Foods Futon Delight

One bedroom in townhouse available immediately to share with four girls on Albert St. $230/month plus utilities. Call Sara at (905) 937-4467 or Harry White (landlord) at (905) 728-4166

Great Summer! Time for School Worried about a possible pregnancy? Call Birthright for a free pregnancy test and follow-UP SUPPOrt - 579-3990

Wordprocessed resumes, letters, essays.Vest resume deal in town.“:Copies, binding,faxsservice. 5783090(davsl

Futon Shop Gino’ s Pizza Greb Harvey’s Highland Photo Homefit ML’S Imperiums To Order Instant Replay sports J.R.BilIiards Julie’s Flowers K-W Record K-W Gymnastics Little Ceasar’ s Lookin For Hero’s Lyric Nightclub M&M Bicycles Magic Bedroom Mail Boxes

Marlin Travel McGinnis Front Row Sports Grill] McPhail’ s Cycle Metrowide Microway Mobility Works National Computer and Supplies O.W. sports Olde English Parlour Orange Monkey Origins

Pal’ s Galerie

Patterson Saddlery PC Factory Pogo’ s Cafe Popeye’s Gym

Princess Cinema Quarters Coin Laundry Quite at Home Red Pepper Remax Realty Gold Rogers Cable TV Schlotzky’s Shot InThe Dark Snappy Photo Software House Stack-A-Shelf Steve’s TV Subway Super Optical The Laundromat Twist University Clinic UW Ski Club u-w CIBC UW Giftshop UW JSA UW Varsity Shop UW Bombshelter Volcano Washerama Waterloo North Mazda Waterloo Taxi Waterloo Town Square Weaver’ s Arms Webco Sports Wendy’s X-Disc-C Ziggy’s Cycle


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http://imprint.uwaterloo.ca/pdfarchive/1994-95_v17,n08_Imprint_Arts  

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