The record, 28 octobre 1983, Supplément 1

Ëgi ¦¦ i - iïk^mé i wmm .¦¦a/" ¦¦ mmm: Lr/i- w^mmm 2—TOWNSHIPS WEEK FRIDAY, OCTOBER 28, 1983 C-Weed Band’s album a 100 per cent improvement Going the Distance, The C Weed Band Ulawk Records) The C-Weed Band’s third album is 100 per cent better than the group’s first two.The Finest You Can Buy and High and Dry.The new outing is an excellent package that captures C-Weed’s energetic and distinctive sound.Although the four musicians have been influenced by both traditional and contemporary country, they strive for and achieve originality, even on other performers’ material.Much of the reason for C-Weed's freshness can be attributed to lead singer Errol Banville.He wrote six songs for the album and his reedy tenor gives plenty of life to his interesting lyrics.The group's musicianship is more subtle than on previous al- The more Folks out in music land may ne-ver stop smirking at Boy George’s androgynous image, but the more you hear of his work with Culture Club the less important his curious visual bearing becomes.Forget the braid: the plucked eyebrows, the pancake makeup: Note for note, the honeyed tones of the Boy put him in the front ranks of today’s white soul artists.The new Culture Club album, Colour By Numbers (Virgin Records) confirms what was suggested by their debut, Kissing To Country Music By DAVE MULHOLLAND bums, but the instrumental power is still there.Special mention should be made of Clint Du-tiaume’s tasteful, enriching fiddle, which weaves its way around Ranville’s vocals, adding spark, cohesion and excitement to the songs.All 10 cuts are great country.One Less Lonely Night, Jessie Burns (Churchill Records) Jessie Burns’s debut album shows it’s hard to live up to hyped expectations.Not that it’s a bad album; it’s simply ordinary.Backed by a standard, unimaginative Nashville sound.Burns does her best with 11 mediocre love songs.At times she sounds as if she’s trying too hard.She projects a contrived sensuality that detracts from her strong, expressive voice.On the positive side, The Wrong Mr.Right has the necessary hooks for commercial success.I Won’t Give Up on You and Easy Me are also fairly strong, but the overall play-it-safe approach simply doesn’t make the most of Burns’s talent.A Gospel Gathering, Terry Ca-risse and Friends (CARA Records) Terry Carisse and friends — several Ottawa area and nationally known artists — have put together a gospel album that fuses music with spirituality.Carisse and the 10 singers who share lead vocals sing every word as if they’re true believers.There are no bad performances and a few seem inspired.CKBY program director Ted Daigle’s singing on Andy Lusk's Hallelujah Avenue is the best he’s ever done on record, and it’s certainly a treat to once again hear Don Cochrane’s outstanding voice on Drifting Too Far From the Shore.Judy Woodstoek-Glazier also does a fine job on Draw Me Nearer and Servant of All.Other guests include Nev Wells, Johnny Burke.Dallas Harms, Larry Mercey and Ralph Carlson.The guests, however, are only given one verse each, which seems a waste of their talent.Except for an uneven reading of Dick Damron’s Jesus It’s Me Again, Carisse is in fine voice, especially on Barry Brown’s Carpenter of Wood, probably the best song Brown has ever written.Instrumentation on each of the 14 songs has been thoughtfully arranged, and the musicianship is first-rate throughout.A Gospel Gathering was obviously a labor of love, and it shows.you hear Boy George the less image counts Be Clever.Fronted by an oddball singer of decided merit, this team of super-tight musicians is unquestionably one of the most significant units to emerge from Britain’s crop of ’80s artists.The work on the new album is a winning blend of easy pop, soul-funk and even a bit of bossa nova shuffle, all tied together by Boy George’s steady, understated style.He sings love songs but, as if in recognition of his visually sexual ambiguity, the lyrics are surprisingly neutral.At the same time, George can’t resist a bit of mockery directed at those who behold him with raised eyebrows.As he sings in the cut Mister Man, “Why do I live the way I do?Ain’t it obvious I’m just a man like you?” Uh, hardly.Similarly, in Karma Chameleon, this walking contradiction wryly states that “I’m a man without conviction.I’m a man who doesn’t know how to sell a contradiction.” The general tone of the album is laden with emotion and yet, like George himself, the emotions are hard to pin down.The listener can feel curiously moved by the gospel fervor of Black Money, for example, without really understanding why.Colour By Numbers’ 10 tracks are consistently strong, but the first two — Karma Chameleon and It’s A Miracle — stand out.Mention should be made of backup vocalist Helen Terry, whose wailing would do any black gospel chorister proud.ALBUM A MESS Who’s to blame —the producer or the band — for the muddled mess that makes up Saga’s sixth album.Heads or Tales (Maze Records)?Probably both.Surely Rupert Hine, who also produced Saga’s Worlds Apart release, knows enough about the group’s style by now that he could have allowed better separation amid this musical clutter.For that matter, the band — comprised of Toronto expatriates who went on to greater glory overseas — is capable of clearer definition in the elaborate arrangements ; these guys have proven as much many times before.LAST WEEKS NO.TITLE ARTIST WEEK ON 1.King of Pain Police 1 11 2.Superstar Lydia Murdoch 7 5 3.Never Said I Loved You Payolas 3 11 4.Making Love Air Supply 4 10 5.True Spandau Ballet 5 8 6.Telefone Sheena Easton 8 7 7.I.O.U.Freeze 2 12 8.Promises Promises Naked Eyes 10 14 9.All Night Long Lionel Ritchie 11 5 10.I’ll Tumble 4 Ya Culture Club 6 15 11.Sitting at the Wheel Moody Blues 15 6 12.Rise Up Parachute Club 13 8 13.All I Need Toronto 18 6 14.Tell Her About It Billy Joel 9 12 15.Islands in the Stream Kenny Rogers/Dolly Parton 19 5 16.Kiss the Bride Elton John 14 7 17.Sexy + 17 Stray Cats 12 10 18.Delirious Prince 20 4 19.Far From Over Frank Stallone 16 8 20.lx>ve in the Shadows Dan Hill 25 5 21.Uptown Girl Billy Joel 26 3 22.Modern Love David Bowie 28 4 23.Suddenly Last Summer Motels 27 4 24.One Thing Leads to Another The Fixx 30 4 25.Human Nature Michael Jackson 17 12 26.Unconditional I^ove Donna Summer 34 3 27.C’est un Reveur Véronique Béliveau 22 10 28.Don’t Wanna Dance Eddie Grant 32 5 29.Ixive is a Stranger Eurythmies 35 3 30.Mixed Emotion Sherry Kean 31 4 31.It Must Be Love Madness 23 6 32.The Log Robert Plant 33 3 33.Say Say Say Jackson/McCartney 38 2 34.Lady Love Me George Benson 24 8 35.Queen of the Broken Heart Loverboy 37 3 36.Dr Heckyll & Mr.Jive Men at Work 39 2 37.If Anyone Falls Stevie Nicks 40 2 38.Pale Shelter Tears for Fears PL 1 39.Rockit Herbie Hancock PL 1 40.Angel Eyes Lime PL 1 Racially-mixed Juluka ‘ignoring’ apartheid laws TORONTO (CP) — While many Western artists are protesting apartheid in South Africa by adhering to the UN cultural and economic boycott of that country, Johnny Clegg and crew are fighting the racial barrier in quite another fashion: They’re ignoring it.Perhaps “ignoring” is not altogether accurate.But for 15 years, British-born Clegg, a white, has espoused the culwhite, has espoused the cultural heritage of the Zulus in quiet defiance of apartheid society.This defiance has manifested itself in the form of Juluka, a racially mixed, South African-based group of folk-rock musicians.“We’ve been intimidated,” says Clegg, co-founder of Juluka with Si-pho Mchunu, a Natal-born boyhood chum.“There was violence in the earlier years.When I was a youngster, going through the city streets with my black friends, that’s when the real hostility would show.” Clegg was in Toronto to speak to the rock media aboutScatterlings, Juluka’s first North American release and one with surprisingly universal appeal.The band will perform in Toronto Nov.11,in Ottawa Nov.12andMon-treal Nov.13th.“We're not a protest band,” Clegg said.“We don’t get on stage and shout slogans, we don’t get heavy with people.What we try to show you is a positive thing, a happy alternative to the current sad situation that we have.“We’re trying to explore our experiences, trying to make a hybrid sound which everybody in South Afri- ca can accept.It celebrates African unity, African destiny, which is trying to make a transition to allow people to get the idea of change in their minds.” Juluka, which means “sweat” in Zulu, had modest beginnings.For six years, Clegg explained, it was a group which contented itself with playing streetcorners to develop and hone its current sound, an appealing blend of Western pop, mixed Zulu and English lyrics, strong percussives and the stirring “Bhaca humming” indigenous to one particular South African tribe.Today the group is a top-seller in its own country and, given the current interest Western pop music has shown in Third World cultures, stands a good chance of conquering new markets.Despite the occasional “political” lyric on Scatterlings — “I’m living through a war in peacetime .Dying to get through to you” — the album has a winning, generally happy tone.“Our primary aim is to make a new sound which people in South Africa can claim for everybody,” said Clegg.“Why?Because the country is fragmented.When we were starting out we just played Zulu music, but you can’t get up in South Africa and be proud of your ethnic group because to do so is to fit into the government’s policy of divide and rule.“So we have to make a music that spans everybody.We’ve managed to embrace South African people as a whole.It’s unique — and it belongs to them.” TOWNSHIPS WEEK—FRIDAY, OCTOBER 28, 1983-3 Carver’s short stories-economy and clipped dialogue Kaleidoscope By RICHARD LONEY Cathedral by Raymond Carver (RANDOM HOUSE): $18.50, 228 PP Time was when book publishers would rue the day that one of their respected authors plopped a new manuscript of short studies on the desk, instead of a sure-selling novel.In recent years, however, with the big red paperback edition of John Cheever’s stories peeking out of the book-rack of every drug-store and newsstand in North America, editors are not running scared at the prospect of marketing stories.Some of the brilliant young writers in America today have reputations built largely around their short fiction collections-Ann Beattie, Alice Munro, Mark Hel-prin, and Raymond Carver are just a few of the vibrant young voices making an impact.Carver’s fictional voices in Cathedral are remarkable in their variety, and for the variegated cross-section of American life they reveal.Carver can craft a story with the economy of description and the clipped dialogue of Hemingway’s “The Killers”.Although “Vitamins” has more seething violence bubbling under its surface than even the brutal Hemingway vignette contained, the ability Carver displays in his handling of realistic dialogue exchanges is akin to that of his stylistic mentor.Another of Carver’s achievements with these twelve stories is his handling of taut human emotions as demonstrated in the touching and traumatic study titled "A Small Good Thing”.This story, typical of some of the unexpected scenarios in Carver’s oeuvre, begins with a woman ordering a birthday cake for the almost eight year old son Scotty.When the boy is struck by a hit-and-run driver and lying near death in a hospital, strange phone calls from the baker asked about the pick-up of the now-forgotten cake become inhuman irritants.The tensions felt by the man and woman as they deal with this domestic tragedy in the face of the nagging phone calls are the kinds of human conflicts that Raymond Carver fashions so deftly.The title story, Cathedral, develops from a visit to a husband and wife by a blind man who has been exchanging audio cassettes with the woman.The woman had worked for the blind man in Seattle, and as the story opens they have renewed acquaintance.But it is the skeptical husband who goes through a learning process at the conclusions of “Cathedral”, which is very similar to the strong ending in D.H.Lawrence’s classic, "The Blind Man.” His characters are often eccentric in the extreme, while the circumstances are very trivial (“Preservation”—a story in which a broken-down refrigerator and unemployment are the keys; “Fever”, a poignant episode that centers on a single parent’s desperate attempt to find a suitable babysitter for his two children).Raymond Carver seems to delight in placing his fictional fluoroscope on the kinds of characters encounters in everyday life, revealing them to us through his considerable achievement as a writer of starkly realistic short stories.The Moody Blues THE PRESENT (POLYGRAM) Critics of this long-lived band generally deride the fact that they have sustained an enormous following for almost two decades—they do the same things album in and album out goes the argument.Perhaps the emphasis should be placed on affirming the positive aspects of the Moody Blues—the interest in the group's record output is tied to the ability of Justic Hayward and John Lodge to pen complex, interesting songs, and the manner in wrhich the Moodies dress them up.Unused to the dizzying heights of Top 40 popularity, the M B ’s follow their two-hit album LONG DISTANCE VOYAGER with THE PRESENT, a ten-tune col lection that just may continue the single success that they recently found.A John Lodge song, “Sitting At The Wheel” is a tune with enough beat and dynamics to catch the fickle ears of the chart- shapers.But as usual, the Hayward compositions steal the spotlight with their mellow, rhapsodic appeal.The bottom end of this record, led by Lodge’s bass and the synthesizer layers of Patrick Mo-raz, lends all of the material a throbbing, pulsing quality that suits the ponderous, operatic nature of the Moody Blues’ style.The selective use of such Moodies toys as the vocoder and the everpresent mellotron lends a familiarity to the new selections— Lodge’s “Under My Feet" features a John Lennon-like delivery of the lyric, as this track leads off the second side after an instrumental lead-in.Between this track and the eso teric pair of songs from flautist Ray Thomas, a coule of other Hayward tunes are wedged in.He is so obviously the versatile tu-nesmith in the band, going from the faint country influence on “It's Cold Outside Of Your Heart,” to the plaintive beauty of “Running Water.” This album is full of the catchy hooks and richness that have been associated with the Mood Blues through a succession of albums stretching away back to the First British Invasion.Two Nations flawed but attacks chronic problem By Timothy Belford Two Nations, by Susan Crean and Marcel Rioux, James Lorimer and Company.If the measure of success for a given book is the agitation or anger it is likely to provoke, Two Nations will undoubtedly earn a place in Canadian literary history.If, on the other hand, the ability to prod a reader into a rethinking of essential beliefs is merely one facet of good writing, Two Nations is a badly flawed work.Susan Crean and Marcel Rioux, both talented intellectuals — she a journalist, he an historian — have attempted to express certain conclusions concerning the state of Canadian and Quebec culture — a culture or cultures “mortally threatened by the same combination of industrial and ideologi-cal forces wrought within and beyond our borders.” To do this they analyse the place of Quebec within the Canadian context — concluding it is in fact a separate nation; examine the culturally dangerous position of living under the shadow of a highly imperialist nation ; and probe the tre-mendous inner Research scares would-be writers MIDDLETOWN, Conn.(AP) — William Manchester says his recent books frighten some people, even though he's never written a horror story.Manchester, who now has Ifi books to his credit, has been focusing on books about historical figures that re-quire years of research.It is this type of book, he says, that frightens other writers.“Research is a whole different world and one that terrifies,” the 61-year-old Manchester said in an interview in his office at Wesleyan University.“I talk to the Wesleyan Writers Conference every year, and they all want to be novelists and short-story writers because they think they don’t have to do any research.And they’re crazy, because every book has to be about something.You have to do some research.“I wanted to be a writer when I left college.Most of the others who wanted to become writers became college teachers and I became a newspaperman.” conflicts that beset modern industrial society despite the obvious affluence of the western world.From the outset the authors make no attempt to hide their obvious left-leaning bias and although this bias, based as it is on some of the foremost intellectual analysis of the 20th century, does not necessarily take away validity from their arguments, it does allow for some barely defensible assertions.Despite his authoritarian and often corrupt regime, to call former Quebec premier Maurice Duplessis a “quasi-fascist” is colorful but intellectually suspect.And to defend the two-nation concept of Quebec and Canada “because we know in our hearts and from experience that Canada and Quebec are distinct nations” bears a striking similarity to the ‘reasoning’ of Teddy Roosevelt who 'believed' equally as fervently that the United States was destined to make one nation of us all.Unfortunately Crean and Rioux too often resort to generalizations that they cannot or do not attempt to support.There is no outstanding evidence offered to prove that “many Canadians are under the impression that the 1980 referendum settled it once and for all” nor is there proof given to back the assumption that English-speaking Canada is the type of monolith acting in cultural and economic consort that the authors would have us believe.Crean and Rioux also appear to have a less than adequate grasp of the history they use to justify their claims.The rebellions in Upper and Lower Canada came in 1837 not 1867 and Teddy Roosevelt — admittedly a jingoist of the first sort — did not “inaugurate the great age of American imperialism.” Despite the errors of fact and the sometimes emotional as opposed to rational arguments, Two Nations does succeed in attacking a cro-nic problem of Cana- dian history.How does a nation forced to cope with internal liguistic division and external economic and cultural pressure survive?The solution offered is one based upon the separation of Canada into two distinct nation states both of which will be forced to find and choose an alternative to the capitalist-imperialist framework of our southern neighbour.Llnfortu-nately the type of committment necessary to carry out the cultural and economic break that is needed to guarantee our survival as an independent society has been historically lacking.As a unit we have found our culturels) eroded and there is little evidence to suggest that by dividing the nation in two we would fare any better.There's a time for playing it safe and a time for./ 14 YEARS Masisa W/D: 61)45-81)45.W/E: 11)00-31)00-51)00-71)00-91)00.Oct.28 to Nov.3 inclusively.The adventures of a model son.THE GEFFEN COMPANY Presents A STEVE TISCH-JON AVNET Products "RISKY BUSINESS-TOM CRUISE REBECCA DE MORNAY Produced by XX AVNET and STEVE TBCH Cinémas CARREFOUR Sherbrooke 565 0366 4—TOWNSHIPS WKKK—FRIDAY, OCTOBER 28, 1983 Wine: It’s just a ‘food’ to be enjoyed like all others Over the years I have had the privilege — sometimes a dubious one — of conducting many wine seminars and tastings.From the beginning I have always taken the advice of an elderly Italian gentleman I knew as a child growing up in the Niagara Peninsula.The gentleman in question had immigrated to Canada shortly after the war from his native Calabria and had grown up with a fine appreciatiion for wine and a genuine talent for the making of this, the gods most important gift to man — fire and the wheel not withstanding.His advice was simplicity itself, “Accept wine as it is ; a food to be enjoyed like all others.” Now, it can be debated by those interested in semantics that wine is not strictly a ‘food’, but the essential message behind this simple statment is hard to quarrel with.Wine is to be enjoyed and the method of this enjoyment is, and ought to be, up to the individual concerned.Wine Bits By TIMOTHY BELFORD Many’s the beginning wine enthusiast with a little knowledge under his belt, so to speak, who becomes an insufferable snob because he forgets this essential truth and tries to fit what is merely a matter of personal taste into a set of hard and fast rules.He will have only white wine with fish and never red with fowl.A crystal glass becomes a necessity and a screw-top bottle anathema.Admittedly there are general guidlines for the enjoyment of wine, developed over many years from the trial and error experiences of those involved in the making and drinking of this delightful beverage.Red wine tends to react badly to seafood leaving a metalic aftertaste found unpleasant by most.Strong reds tend to mask the flavor of more subtle dishes and sweet wines are generally to heavy to drink with a meal.But these are only guidlines.If you happen to prefer red wine with your ice cream, fine.I, and many others will tell you why we don’t, but its up to you.If you like Rhine wine with your roast beef, go ahead.The important thing is to enjoy the experience.Victo Hugo suggested one should drink Montrachet on bended knee.Hemingway drank his Valpolicella from the bottle while sitting on the toilet.Alan Sichel liked a glass of Claret for breakfast “just to see what it had to say to me”.All these men knew and appreciated wine and none of them let ceremony stand between them and enjoyment.Don’t you.Cheers! fit Ytfm New manager launches Symphony fund campaign REGINA