Golden Rock

Golden Rock thanks you (and you, and etc.)

2012-01-02T05:52:00.000-08:00

Gee, we leave the back door open for a few minutes and the Calgary Cassette Preservation Society slips in and takes over the blog. Sheesh.

Ah, but seriously. We're thrilled the CCPS is taking over the long-neglected Golden Rock archives. Look for all the past posts to trickle out over at the CCPS over the coming days/weeks/months--plus some Enemy Mind Feel rarities we've been sleeping on for well over two years. (We hang our heads in shame. Sorry, Ken!)

Thanks to everyone who contributed to Golden Rock over its lifetime. Without your generosity, and willingness to dust off old tapes and vinyl, it wouldn't have happened.

Now, on to 2012!

Sincerely,

The Golden Rock Board of Governors.

IMPORTANT ANNOUNCEMENT

2012-01-01T09:05:00.000-08:00

Attention Golden Rock Readers:

I am pleased to announce that the Calgary Cassette Preservation Society (CCPS) has acquired the blog known as Golden Rock (GR). Effective immediately, all posts and downloadable content at GR are being managed by CCPS. In the coming weeks, the posts on GR will be migrated to the CCPS blog.

What does this mean to you, the reader? CCPS is now your one-stop shop for all things CalgCon. It also means a slightly broader mandate for the CCPS, as we'll be posting more than just tapes - and removing the previously-used miscellany tag from non-cassette posts. It also also means that we get to coast through the next month or so by re-posting all of GR's stuff to the CCPS blog. We'll likely be adding much of the trademark commentary that you've come to enjoy/be annoyed by from the CCPS. And maybe re-organizing the posts somewhat. But we will be working to keep the comments that were appended to some of the posts by People In The Know. Actually, the overall plans right now are a bit hazy but - as it's New Year's Day - ambitious.

On behalf of the CCPS and all of its members in good standing (not the disgraced ones - and they know who they are), I would like to thank Golden Rock for all that it has done for nostalgia and the Calgary scene. Golden Rock was a huge inspiration to us at the CCPS - so we're going to ignore that fact that the site has been dormant for the past two years and has basically slid into obscurity, leaving us to do the heavy lifting (nostalgia does get heavy, especially when fuelled by beer).

Please visit the Calgary Cassette Preservation Society blog or Facebook page for all your listening/reminiscing needs. Any correspondence can be directed to me at hamfisted@gmail.com.

Thanks,

Gene Poole

Calgary Cassette Preservation Society

MEDIA "ALERT" #5

2009-12-01T01:45:00.000-08:00

Continuing a very infrequent Golden Rock feature, in which we revisit those rare occasions when the Calgary underground music scene surfaced in mainstream media. The August 1985 issue (vol. 1, no. 9) of Graffiti (a slick Canadian pop culture mag--and a surprisingly hip thing to find on the Mac's newsstand) features a short front-of-book piece by Alastair Sutherland about the Golden Calgarians:

Calgary's Golden Boys Take Low-rent Route

Riding high on a rock'n'roll steed are the Golden Calgarians, four young hombres who, as their name suggests, hail from the second-biggest city on the dusty Alberta plains. Armed with a new album, Savage Love, on Rubber Records, an independent label, the Calgarians hope to take the low-budget route to success. As experience shows, it's not always easy.

At the beginning of the summer, the Calgarians toured Eastern Canada in a small van, and after unanimously good reviews in Ontario ("hottest thing from out west since K.D. Laing" [sic]) the group hit Montreal without a cent. Solution: their landlord, a big fan, flew in with $60, which kept the Goldens going for another week.

Fronted by an obnoxious but entertaining singer named Bruno, the Calgarians specialize in a humourous, hard-driving garage-style sound that attacks head-on the many foibles of modern society: herpes simplex 2, take-out chicken, Russian missiles, big trucks, etc. In Montreal, they faced the alarming prospect of opening for California progressive-rockers Red 7. But the 6'3" (in cowboy boots, natch) Bruno was non-plussed.

"Give me an audience, any audience," said Bruno, who often undoes his trousers à la Iggy Pop. "I'll knock 'em dead."

Indeed he did. Golden Calgarians' mailing address: Rubber Records, P.O. Box 4554, Edmonton.

This article inspired the following exchange on the October 18, 1985 broadcast of Brave New Waves:

Brent Bambury: Graffiti said you were obnoxious.

Bruno: Yeah, I don’t know where he got that from. Maybe it was just from talkin’ to him.

Jeff Smith: Maybe because it’s true.

The Brave New Waves interview also elaborates on the whole landlord/$60 story. So there you go.

Mules: "True Love" & "House of Pain" (c.1985)

2009-11-08T20:09:00.000-08:00

Ken Kittlitz (ex-Enemy Mind Feel) graciously mailed in a box of cassettes, which we're getting ready to post. This latest dispatch from the Kittlitz archives reminded us that, somehow, we'd completely forgotten to post these two Mules tracks he sent in last year. This is especially odd, given that digging up Mules songs was one of the reasons behind launching Golden Rock in the first place.

So, without further delay, here are "True Love" (different version from the one on Calgary Compelation) and "House of Pain." We're going to guess that these are from the cassette alluded to in this article. (And thusly date them to 1985.) Can anyone confirm or debunk this? Better still, anyone will to share that tape?

Thanks once again to Mr. Kittlitz. And stay tuned for an Enemy Mind Feel onslaught in coming days.

CosmaNat: "The Find" cassette single (1985)

2009-10-21T05:15:00.000-07:00

Released on cassette.

Cosmanat Is:

Brenda Bowes
Guitars Percussion Bass Violin Linn Drum

Pat M. Tufts
Vocals Synthesizer

Recorded at Sundae Sound, Calgary Spring 1985

Engineer Robert Bartlett

Thanks to: Kevin (for photos and stuff), Robin, Robert, C.H., L.A., and K.L.

Written, performed and produced by CosmaNat

* * *

One last CosmaNat submission from Frank Lockwood, this one predating his working with the band.

The download URL is in the comments section.

CosmaNat: "Bring a Torch" (198?)

2009-10-21T05:10:00.000-07:00

Released on 7" vinyl.

Another one from the Frank Lockwood vaults. "This proved to be the band's swansong, and was recorded at Sundae," Frank writes. "I remember recording this song with Pat in the studio, and her six month old son fretting in the musicians lounge, outside of the control room. I was having trouble getting the vocal quality I wanted from Pat, until I encouraged her to 'sing it like a lullaby' to calm her fussy baby. This worked like a charm, providing both the vocal that soothed the infant, and crowned this gentle Christmas hymn, closing the door on CosmaNat's recording career forever."

Thanks to Frank and Pat Tufts and Brenda Bowes for sharing the music.

CosmaNat: "Little Things" b/w "Camping Song" (1986)

2009-10-21T05:00:00.000-07:00

Released on 7" vinyl.

Little Things (B.Bowes)

Camping Song (B.Bowes/P.Tufts/K.Pack)

CosmaNat is Brenda Bowes and Pat M. Tufts
Produced by CosmaNat and Frank Lockwood
Engineered by Frank Lockwood
Recorded at The Sundae Sound Studio, Calgary, Canada, in the Spring of '86

Thank you C.H., L.A., and K.L. for unending truth.

There is no silence in our attention. So much for resting.

* * *

This one comes courtesy of Mr. Frank Lockwood, and is posted with the blessings of Brenda Bowes and Pat Tufts. We got in touch with Frank to solve a mystery surrounding a Tau Ceti video clip, and he generously hepped us to CosmaNat, "a band that became important to me during that period."

Frank writes: "Our first production was a 7-inch vinyl single, the upbeat 'Camping Song' backed with the dirge-like 'Little Things.' I remember Pat and Brenda showing up wearing shorts for the session where we recorded the thigh slaps that provide most of the rhythmic drive for 'Camping Song.' 'Little Things' is a painful lament of some undefined loss, which also featured a lot of what were to become my primary contributions to the CosmaNat sound: echoed guitar lines, multiple vocal harmonies, and spacious reverberation."

Big thanks to Frank, Brenda and Pat!

The download URL is in the comments section.

The Verdix: "Lookin' Around" b/w "Media" (1981)

2009-09-20T04:58:00.000-07:00

Released on 7" vinyl by Aura Records (AR-8003).

Side A
Lookin' Around (The Verdix)

Side B
Media (The Verdix)

Prod: by Warren Anderson and The Verdix

One of Calgary's first indie releases. The Verdix were the brainchild of the late singer-guitarist Mick Joy (a.k.a. Mick Memorex, who played in early incarnations of Golden Calgarians). This one comes courtesy of Radio Radio co-founder Dennis Burton, who is also working on a two-disc collection of live Verdix tracks. Dennis is doing amazing CalgCon restoration work--like the double-disc RipChords retrospective GoneForeverGone. Thanks tonnes, Dennis!

The download URL is in the comments section.

Liquid Light: "Between A Rock and a Hard Place" (live at the York Hotel, 1988 or '89)

2009-09-18T17:52:00.000-07:00

A while back we asked if anyone knew what became of Skali, the Liquid Light frontman. Well, Scott Kelly ("Skali was just a nickname, like a slurred 'S.Kelly'") wrote in to say he's alive, well, and still making music--some old Liquid Light lyrics and riffs even show up on his two recent solo CDs. Scott's also a visual artist and radio host. He very kindly sent in this track, recorded at Liquid Light's final gig, at the York Hotel* in either 1988 or '89. Oh, he also mentioned that he tried an LL reunion in 2004--there's a clip here.

Thanks a million, Scott!

Download URL in comments.

*Now part of The Bow behemoth.

Eden's End: "A Dream" (live, 1986)

2009-06-10T18:02:00.000-07:00

Last year, we published a photo of a shot glass given away during the grand opening of the old Club Notes. One of the bands who helped christen the club was Eden's End, and singer/bassist Jack Goodwin recently wrote in to share a recording ("A Dream") from that historic evening and a photo of the band taken at the club (from left: Jack, guitarist Byron Norton, drummer Clayton Dickson). Eden's End are still going (Jack's the only original member) although, he notes, "the only room we rock these days is in our guitarist's basement in Sunnyside."

Thanks a million for sharing these gems, Jack!

The download URL for "A Dream" is in the comments.

Tau Ceti: live on FM Moving Pictures (c. 1982)

2009-04-14T17:32:00.000-07:00

Barry Calnan, who drummed for Tau Ceti, dug up an old VHS recording of the band playing "Bathed in Dark Light" and "Radiation" on FM Moving Pictures, the legendary Calgary community cable TV show hosted by the equally legendary Mike Bezzeg. (Bezzeg later released Tau Ceti's records on his Small Horse, Big Apple label.) We know from keyword web traffic stats that a lot of people are jonesing for FM footage (and its follow-up, Chrome-A-Key Kids, hosted by Bezzeg and the late James Muretich)--anyone sitting on some dusty tapes? And can someone identify the fellow sitting with Bezzeg at the end of this clip? Barry remembers him doing sound for Tau Ceti on occassion ("nice guy") but can't remember his name.

UPDATE 10/19/2009 In the comments section, Klaus from Tau Ceti suggested the fellow with Mike Bezzeg is one Frank Lockwood. We tracked down Mr. Lockwood, who was a recording engineer-about-Calgary back in the day and now runs his own classical music recording service in Toronto, Lockwood ARS. He turned out to be a wealth of information about the Calgary scene, and very generous with his time:

"That is indeed me at the end of the clip," Frank confirms. "By the time I was involved, the show was called Chrome-a-key Kids, and I was the regular co-host. James Muretich would show up occasionally to do a review, but that became less frequent over time.

"My contribution to the show was to concentrate on jazz and classical music (whereas Bezzeg did more rock and pop music—usually of a more innovative nature). Since there were few videos made for jazz or classical music at that time, we would make what we called 'non-video videos' by gathering a bunch of suitable images from books or magazines to show while playing the music. Chrome-a-key ran from, if I'm remembering correctly, late 1984 into mid 1985. I had known Mike for years, but we only really became good friends when we starting working together at the Sam the Record Man store in TD Square—where we gained access to a lot of the music we played on air.

"As for Tau Ceti, Mike was very enthused about them, and also wanted to start a recording label. I had expressed a lot of interest in the recording process in general, so he asked me to act as Producer for the sessions that resulted in their first single. The recording took place at Richard Harrow's Living Room Studio (located in his house in south-east Calgary) in September 1985. I believe I may have performed some small bits of additional synthesizer stuff on one or both of the tunes in addition to coordinating the way the various tracks went down, and coaching the performances. Both Richard and I did the mixes.

"I recall that it was Mike's idea to provide a more interesting package and to save money by not having any printing done for the labels or covers for the 12 inch disks. Instead, we made each one a ‘custom production’ through the use of several rubber stamps and four different images to be pasted to the front covers. I can remember that it took a couple of weeks for just about everyone involved to carefully remove the disks from the covers, stamp the blank labels, stack them carefully so the ink could dry without smearing, while affixing one of the four paper images to the front of the covers and a single, text based sheet to the back. The initial run was of 1000 copies, pressed up through World Records (now World Reproduction), and sold through as many outlets as we could manage throughout Calgary, Edmonton and I think even a couple of places in Vancouver, in addition to sending out copies to campus radio stations across Canada.

"Producing that recording proved to be the beginning of what has subsequently become my career. I took the recording course offered by Sundae Sound Studio, then owned by Doug Wong, who now runs Canada Disk in offices about a block from the old Sundae location on, I think, 32nd Ave. NE just a block east of Centre St.

"Following the course, I had both the time and enthusiasm to continue at Sundae, acting as a freelance engineer, and gradually picking up more and more clients. Between 1985 and 1988, I did a large number of recordings—rock bands, a lot of country singers, spoken word productions, advertisments... Mike Bezzeg's next project was with a band called the Funeral Factory. For their full-length album, Mike took them into Living Room Studio and acted as Producer. One of the tunes was recorded after hours at the Sunridge Mall for the spacey, echoed ambiance. Two of the tunes were recorded by me at Sundae: ‘Shells’ and ‘Questions.’”

Frank also had a lot to say about a band named CosmaNat—and even shared their complete recorded output with us, so those are thoughts best left for their own entries.

MEDIA "ALERT" #4

2009-03-18T23:21:00.000-07:00

Continuing a very infrequent Golden Rock feature, in which we revisit those rare occasions when the Calgary underground music scene surfaced in mainstream media. Of course, James Muretich gave Calgary bands more than a fair shake in the pages of the Herald--and David Veitch did the same in the Sun--but this kind of front-of-section coverage was unusual.

From the Calgary Herald, May 24, 1987:

Rock Scene
By James Muretich
(Herald staff writer)

The local rock scene is perceived differently by everyone involved.

Often, the only tie that binds the different bands together is the fact they live and play in Calgary, since the scene features everything from spandex-clad bar bands dreaming of becoming the new Bon Jovi to groups happy when their members can end a song on the same note.

Calgary has boasted a surprising number of independent bands ever since the spirit of punk belatedly hit the city in 1978. and over the last decade, it is from these ranks that groups have risen from the underground to claim the spotlight in such clubs as the Westward Club, The National Hotel and The Beach.

Along with regular airplay on the University of Calgary’s radio station, CJSW-FM, local independent acts have never enjoyed as much exposure as they are receiving now.

They may not earn big bucks or make the news on MuchMusic, but on any given night in Calgary these are the groups that keep the banner of original rock unfurled.

* * *

If ever there were a group of rowdy, renegade rockers with the potential to be the next garage-rock gurus in the infamous tradition of The Stooges, it’s Color Me Psycho.

The quartet is Calgary’s best-known independent group outside of the province largely due to the strength of last year’s independent cassette: Kiss Me Then Color Me Psycho. While shoddily produced and distributed, the band managed to sell 800 copies of it in Western Canada (an impressive number for an independent.)

Its music is gritty guitar-rock that fuses the ‘60s and the punk era in a frequently fiery fashion, as one might imagine from song titles such as Shatter City and Black Corvair.

Together for two years, the group’s members see themselves as keeping the rock fires burning while waiting for the next major movement to hit just as punk did.

“I think the whole independent record scene in the late ‘70s broke down a lot of barriers, but no there’s no new sounds, just new gimmicks,” says drummer Caesar Menrod.

“All we’re trying to do is come up with songs that aren’t boring until something new and exciting comes along,” adds guitarist/vocalist Aleistair Hex.

Someone should tell Color Me Psycho it could be the next exciting band.

* * *

Never A Dull Moment is one of the city’s top hardcore groups, hardcore being a relentlessly aggressive brand of rock that appears to be mega-manic to the Woodstock generation but strongly appealing to the group’s underaged following.

Unlike fellow hardcore band Beyond Possession, it hasn’t committed any of its songs to vinyl or even to cassette, but the quartet is earning a solid reputation nonetheless.

“Punk’s an attitude and we’re maybe a couple of stages beyond that,” says guitarist Dave Orr.

“Our music is hard and fast, blasted at your face and hard to ignore,” says guitarist John Hiebert.

“That’s why our following is young. The younger kids are more open to this music. The older guys who have listened to other kinds of rock find it hard to adjust (to),” says Hiebert.

“Besides, kids are more aggressive and rowdy,” says drummer Lou Lowry.

The sonic attack of Never A Dull Moment’s own songs are often tempered by interludes that range from blues-based riffs to metal a la Metallica.

The group’s musical philosophy is summed up in its name.

“Never A Dull Moment is what we try to achieve when we play. Our name is about fulfillment,” says Hiebert.

* * *

In a city dominated by driving-guitar groups, Same Difference stands out as a breath of fresh air.

The group’s original tunes are defined by subtle rhythmic interplay between guitar and bass, while the traditional drum set is ignored in favor of congas. Add to that the powerful vocals of Janine Bracewell, and Same Difference concocts a spacey yet muscular sound, a kind of Jefferson Airplane with a Latin feel.

The quartet has quickly become one of the most popular live bands in town and was recently invited by Vancouver recording act, Go Four 3, to perform with them on the West Coast.

“It’s all happened so fast for us, it’s hard to talk to people about our music because we’re still unsure about it. We’re still a basement band in our minds,” says bassist Diane Kooch.

“I think the key to our music, though, is that we don’t suppress anybody’s interests in the band. Instead of trying to conform to someone, we try to combine our styles. We sit, talk, crack open a bottle of wine and just write,” says Kooch.

And so far the group is turning out vintage music, though there are still no immediate plans to record.

* * *

The Ted Clark Five, as one might assume from the name, are playful practitioners of rock ’n’ roll. The band is renowned for giving away candies at gigs and for bringing an irreverent attitude to its good-time, upbeat rock ‘n’ roll.

“Most people don’t really dig rock anymore. We’re just trying to get people back into it. We’re against the Saddledome mega-light shows. Death to all computers! Rock is meant for thrashing about,” says singer Greg Baekeland.

“It’s scary when the kids have only been weaned on Bauhaus and the only Iggy Pop they know is from Blah Blah Blah (his last album) and none of his early stuff.”

The Ted Clark Five’s own songs travel back in time to the rock of the ’60s, with a little rhythm ‘n’ blues thrown in for good measure.

And with the crisp, often compelling guitar work of Brent Cooper – a veteran of several local groups, including the popular Cryin’ Helicopters – the group rocks with a primal appeal on its better material.

* * *

Steamin’ Mad At Dirt has two things working in its favor. One, it has a name every bit as great as the Strawberry Alarm Clock. Two, its members are knowledgeable rock buffs, with bassist Tia Travis and guitarist Leah Solomon putting their record collections to effective use on their CJSW radio shows.

However, Steamin’ Mad At Dirt also faces a major problem – finding a drummer.

“The first time we put out an ad, we got a drummer who was totally into marimbas and wanted to do The Kinks with marimba accompaniment,” says Travis.

The band is still searching for a drummer, as well as an original sound.

“It’s hard to be creative without sounding like the past these days,” says Travis.

Steamin’ Mad At Dirt is trying to find that niche by combining Travis’s and Solomon’s fondness for rockin’ bands like The Saints with guitarist Jeff Kushner’s leanings toward a more acoustic-rock sound.

If the twain meets and the band lands a drummer, it could go places. If not, there’ll always be that name to remember.

* * *

Liquid Light prays at the altar of the guitar trinity: Jimi Hendrix, Eric Clapton and Jimmy Page.

It’s songs are blues-based rockers that use “the structure of lyrics and melodies just to get to the jam,” says guitarist Skali.

And when the jam works, Liquid Light’s tunes turn into an instrumental trip that Skali refers to as “surrealistic, post-psychedlic, metaphysical boogie.”

The band blends hippie ideals and anti-nuclear sentiments to create good vibes for peace.

“We have this overall desire to promote a raised consciousness and positive animations of the. And we hope when people come see us that they’re drinking for peace,” says Skali.

Unlike some local groups that feel rock is in a state of déjà vu where nothing is new, Liquid Light holds to the belief everything is new.

In Skali’s words: “It’s new because the individuals are new. Others before us may have blazed the trail, but it’s up to us to find things they were too busy to notice the first time through,” says Skali.

Thanks to the Calgary Cassette Preservation Society for digging up this article. Does anyone have any Steamin' Mad at Dirt, Never a Dull Moment or Liquid Light (other than "I'm So Glad About Dyin'") recordings? And whatever became of Skali, anyway?

Eye On You: Who's Been Sleeping In My Head? (1985)

2009-02-28T10:50:00.000-08:00

Released on 7" vinyl by Rubber Records.

Dis Side
Mom, Dad and the Kids
Lost in Space

Dat Side
Children (Shouldn't Play With Dead Things)
Riley Manor Boogie

Eye On You is:
Gary Lamb--bass, vocals
Darcy Scott--guitar, vocals
Murdoch MacLeod--guitar, vocals
Joney Hornblend--drums, ~~vocals~~ cymbals

Produced by Shane C (can you spare a couple hands) at In House Audio. Cowtown, Alboita.
In Dec/84
Special Ranx: Mae Westerly, Gaz Thompson, Reno & Rob for Trucks, Terry for Posters, Min Manor Folks, and all Gig Goers. And very special tanxs to beermiesters and brewmasters thru out the world
WE LOVE YOU!!!

All songs CAPAC (c) 1985
Cover by: Images in Darkness.

Thanks to Golden Rock reader Eric Dawson for sending this one in! Download URL in comments.

Sacred Heart of Elvis: live + studio (circa 1985-87)

2009-02-27T17:45:00.000-08:00

When it rains Sacred Heart of Elvis, it pours! Rodney (Bartok Guitarsplat) Brent sent in a bunch of recordings from various incarnations of his old band:

“Elvis on Velvet” (studio recording, September 1985)

“Black Snake Moan” (studio recording, November 1986)

“Ed Anger” (studio recording, January 1987)

“Walkin’ the Neurotic” (studio demo of “Walkin’ the Floor” and “Every Neurotic Citizen”)
Ali Riley: vocals
Tim Campbell: guitar
Bartok Guitarsplat: guitar
Rob and Dwight from The Mules (“although they called themselves different names”): bass and drums

“Misery/Ed Anger” & “Wheezing Dog on Leash/Ring of Fire” (recorded live at the National Hotel circa January 1987)
Ali Riley: vocals
Tim Campbell: guitar
Bartok Guitarsplat: guitar
Joni Brent: bass
Michael Nathenson: drums

“Black Snake Moan” (alternate studio recording)
Ali Riley: vocals
Tim Campbell: guitar
Bartok Guitarsplat: harmonica, acoustic guitar
Grant Sim: bass
Ted Clark: drums.

Rodney also sent two songs from Rooth the Fruitbats (or is it Rooth and the Fruitbats?), a proto version of Sacred Heart of Elvis, recorded at the National Hotel:

“Don’t Ya Wish Ya Stayed Home Now”

“A Most Odious Person”

Thanks tons, Rodney!

Download URL in comments.

Sacred Heart of Elvis: live

2009-02-26T19:12:00.000-08:00

Andrew Pearce (of The Now Feeling fame) found an old cassette recording of a Sacred Heart of Elvis gig. "I am pretty sure I wasn't playing drums on this recording," says Andrew. "I believe Ali gave it to me so that I could learn the songs for a few gigs I played with them in Toronto. I think this was a recording in Toronto and maybe Rodney Brent played on it, but I'm at a loss for who ever else."
Thanks a million for sending this in, Andrew!
We'll see if Rodney or someone can't shed some light on this mystery.

Songs:

Misery
Batman
Wheezing Dog on Leash
Into the Frey
City of God
Wrong Cocktail
Black Snake Moan
Elvis on Velvet
Every Neurotic Citizen
Lolita's Revenge
Walking the Floor
Alligator Death Wine

Download URL in comments.

(For studio versions of "Wheezing Dog on Leash" and "Black Snake Moan," see 90.9 With A Bullet: 20 Years of Calgary Music on CJSW and Calgary Compelation, respectively.)

Silicone Injection: Sic Nos Non Nobis (1981)

2009-02-26T18:55:00.000-08:00

Released on 7" vinyl by Sic Nos Non Nobis.

Kids are People Too
Payday on Friday

Agro
At War with Peace
She's A

We've never actually laid eyes on this vinyl; these tracks were ripped from the second volume of the Smash the State compilation, which we found at Model Citizen...Zero Discipline. The compilations are based on Frank Manley's great Canadian punk discography of the same name, which has proved an indispensable Golden Rock resource.

Anyone out there have the liner notes info for this record? Any info on who was in the band?

Download URL in comments.

The Unusuals: 44U EP (1980) + bonus live track

2008-08-01T13:02:00.000-07:00

Released on 7” vinyl by Living Room Records (LRR8002)

Side A
You Only Make It With Rich Guys*
Hit And Run

Side B
Measure for Measure
Saving My Best

Ron Matsalla: Guitar and Lead Vocals
Paul Burton: Drums and Vocals
Danny Patton: Bass and Vocals

*Background Vocals by "Rikki & the Rokkits"

Cover design: H.K. Edmondson

All songs composed by Ron Matsalla
An M.C.S. Production
Produced by Richard Harrow & The Unusuals
Engineered by Richard Harrow
Recorded at The Living Room Studio, Calgary, Alberta
Executive producer: P.M. Matsalla, MCSL, Calgary, Alberta 1980

Bonus track: Ian Grant, who drummed in a later incarnation of The Unusuals, sent in a recording of the band tackling "Shakin' All Over" (Johnny Kidd & the Pirates) at Dinnie's Den in the University of Calgary, sometime in the early '80s--thanks heaps, Ian!

Download URL in comments.

The Cryin' Helicopters: "Go West Young Bee" & "Move" (c.1984)

2008-07-28T19:07:00.000-07:00

Two more from Ken Kittlitz's '86 mix tape, again re-mastered by Cheeba. Big thanks to both fellows!

The Cryin' Helicopters were one in a string of bands featuring guitar whiz Brent J. Cooper (falling somewhere between his stints in The Will... and the Ted Clark Five?), best known for his work in instro outfits Huevos Rancheros and the Ramblin' Ambassadors. In fact, Huevos recycled "Go West Young Bee" on a 7" (b/w "Girl from N.A.N.A.I.M.O.," Top Drawer, 1994) and the Dig In! album (Mint Records MRD-007, 1995). More info on the Helicopters, and hopefully more tracks, to come soon. In the meantime, might we suggest you buy the fabulous new Ramblin' Ambassadors disc, Vista Cruiser Country Squire?

Update 07/30/2008: Not surprisingly, walking music encyclopedia David Veitch remembers the Helicopters roster:

Brent Cooper - guitar
Dave Stevenson - drums
Dave Hatfield - bass
Tom Wolfe - vocals

Stevenson, Veitch notes, also did time with Cooper in The Will... Hatfield and Wolfe were formerly of Grey Nun.

Download URL in comments.

Rain for a Day: "Omi's Forgotten Wedding" (c. 1985)

2008-07-25T19:15:00.000-07:00

Another one from Ken Kittlitz's '86 mix tape (and re-mastered by Cheeba). Rain for a Day were CJSW staples back in the day, but we're at a loss for info about this one. Was it from a cassette? Who was in the band? What year is this from? Is the title even correct? (It might be "Omi's Secret Wedding.") If anyone can shed some light on this track, please e-mail us at humanitylover[at]gmail[dot]com.

Download URL in comments.

Big Dog: 99 Change Hands (1982)

2008-07-20T20:42:00.000-07:00

Released on cassette by Syntax Publishing (SPAC 001)

Side 1
Charisma
Monkey See, Monkey Do
Cantina
No More Painting

Side 2
Ask Me Any Questions*
Remember When*
Clone/Drone*
We Are not Afraid

All Rights Reserved.
Copyright © 1979/80 Brian Dyson/Paul Woodrow except* Copyright © 1979 Paul Woodrow
All songs arranged by BIG DOG

BIG DOG:
Mark Dutchuk Guitar
Brian Dyson Vocals
Peter Moller Drums/Percussion
Brett Pawsom Bass Guitar
Paul Woodrow Keyboards
Karen-Anne James Back-up Vocals

French Lyrics on Cantina by Pierre-Alain Hubert

Recorded at R&R Studio and The Living Room Studio, Calgary, Alberta, June 1981/October 1982

Recording Engineers — Wade McGregor and Richard Harrow.
Produced by Syntax.
Photography: Pat Lloyd
Design: Brian Dyson
Art Direction: Syntax
Printing: Peter Nothing/Egg Press
Manufactured in Canada/Fabriqué au Canada

Huge thanks, yet again, to Brian at Syntax for sending in the remastered tracks!
Download URL in comments.

The Nex’d: "Surreal" b/w "Flexible" (1985)

2008-07-05T16:45:00.000-07:00

Released on 12" vinyl by Black Bear Records (BBR 1010)

Side 1
Surreal

Side 2
Flexible

Trevor Groves, lead vocals
Lochinvar Sturdy, bass
Gordon Adam, guitar and keyboards
Sean Maher, drums, backing vocals
Kim Sturdy, keyboards, guitar
Kevin Kingston, bass and backing vocals

Recorded at: Smooth Rock Studios, Calgary, Alberta
Produced by: Peter D'Amico
Engineered by: Gabriel Boucher
Photography: Alexander Thomas
Graphic design: Peggy Otteson and Boxer Productions

(c) 1984 "Surreal" (CAPAC) Lyrics/Martin Adam; Music/The Nex'd
(c) 1985 "Flexible" (CAPAC) Lyrics/Trevor Groves; Music/The Nex'd

Thanks to all the supporters of original music in Calgary.

Download URL in comments.

MEDIA "ALERT" #3

2008-06-14T13:28:00.000-07:00

Continuing a very infrequent Golden Rock feature, in which we revisit those rare occasions when the Calgary underground music scene surfaced in mainstream media.
The April 1987 issue (vol. 3, no. 4) of Graffiti (a slick Canadian pop culture mag sold in convenience stores across the land) turned its gaze on Calgary. Text by Creighton Hoopalo, photo of the Ted Clark 5's Gregg Baekeland by Terry Smolko. No credit for the Color Me Psycho shot.

CALGARY
27 BANDS MENTIONED!
As last month’s Edmonton roundup fades into the sunset, intrepid reporter Creighton Hoopalo heads southwesterly into the warm winds of Chinook City. Welcome to Calgary…

First the bands. Best offering in town comes in the form o’ COLOR ME PSYCHO, a blitzing, screaming, stomp-on-yer-head hard-psycho band with an early punk punch. I’ve only see ‘em twice this past year, but that’s enough to make a believer out of me, and I just can’t see anyone topping ‘em in their city. Vinyl evidence is much needed of their swamp-dense, chord-smashing tunes, so someone sign ‘em up NOW.

TED CLARK FIVE have a name that could easily turn any smart guy away from their direction, but live they prove themselves to be no big fops. Working that sloppy, kick-ass vein the early Replacements did so dandily, they add a fair bit of their own personality and throw in some choice covers as well (“Under My Wheels” and the Saints’ “Got No Time”). The guitar player is this band’s real ace-in-hand, spiking everything with some crisp, brash string-work. Just change the name, OK, guys?

BEYOND POSSESSION are probably the most “known” of Calgon bands, but the best? Not by a long shot. Their recently released debut LP pinpoints the problem: songs that fly by with no impact. I can get into metal (speed metal, in this band’s case) as much as the next guy, but these Joes have a long way to go before perfecting the art of brain-crush. A talented lot, to be sure, but the sameness of their songs ruins the whole cake.

SACRED HEART OF ELVIS ride the same range as X/Gun Club, sounding much like something you could’ve seen in seamy, late ‘70s L.A. punk. The band has enough personality to pull off their music without sounding derivative, and my only complaint would be the “I’m-so-cool-and-you’re-not” pretentiousness of their singer. She looks like she’d rather be halfway ‘cross town, watching TV or knitting. Otherwise, excellent goods, delivered right to your door. Let ‘em in, bozo!

NO LIMBO LASSO remind me (for some oddball reason) of Winnipeg’s Ruggedly Anne’s (long defunct). The bass takes a strong frontal position in this band, with the guitar playing shards o’ noise on top o’ that. Of special note is their singer, who looks like a prime case for exorcism in her stage-rant, and who elevates some of the weaker material to a place I can dig.

TH' LEGENDARY FEW basically hit the stage, dispose of mannerisms and then proceed to EAT YOUR HEAD, WHOLE. Absolutely hard’n’wild ‘60s grunt, the kind of ‘60s revivalism there should be more of (as opposed to Byrds revivalists). Two guitars soar and crunch with solid intent, and the rhythm section dropkicks you gleefully (and you like it!) A total pleasure to behold, raw rock’n’roll at its pinnacle.

SALMON BREATH dispense with excess baggage: the band consists of two girls—one plays a snare drum and a cymbal, the other plays an out-of-tune guitar. But their antics and “music” work, something like a tongue-in-cheek version of Deja Voodoo.

As for clubs, the National Hotel bar is where most bands play—easy to book, holds 300 on a sweaty night. It’s just your basic Albertan low-rent dive and people get killed there (‘bout one a year), but it does have character. Two others worth mentioning: The Clubhouse, part of a converted apartment building now reminiscent of an elementary school gymnasium, is packed at 250-300, with Carib-reggae on Fridays and punk on Saturdays; and the new Westward Club, featuring a downtown location and some of the people from the Ace of Clubs (A. of C. was last year’s big-budget live venue disaster that closed due to no one seeming to know what they were doing). Phone Greg at (403) 240-2670 for more information and bookings.

Big news around here is the Alberta compilation, Writing On Stone, which should be out as you read this on Rubber Records (P.O. Box 4554, Edmonton, Alberta). Featured are six bands from Edmonton (Euthanasia, Big House, Broken Smile, This Fear, Shadow Project and Disciples of Power) and six from Calgary (Color Me Psycho, No Limbo Lasso, Ted Clark Five, Th’ Legendary Few, Liquid Light and Eden’s End). I can vouch for about half the bands but, as with most comps you’ve gotta take the good with the bad (or don’t take it at all). Which holds true as well for Calgary Compelation (sic), a 13-band sampler recorded about a year and a half ago and released late last summer. It includes a few of the bands already mentioned and others like the Golden Calgarians, Zero Hour, 21 Hundreds, The Will, Ripchords, etc. you can get it from Golden Rock Productions (450 13 St. N.W., Calgary, Alberta).

And that’s it.

Kirk Miles: On A Whimsically Adulterous Night with Batman's Wife and Other Poems (1986)

2008-06-14T13:06:00.000-07:00

Released on cassette by Syntax Publishing (SPAC 002)

On a Whimsically Adulterous Night with Batman's Wife
Two Deaths of a Shark
Three Handy Recipes for Summoning up from the Deep
Catwoman Meets Sid Vicious
When the Xenonman
Supergirl in the Blossom Factory

Kirk Miles lives in Calgary.
He was a founding director of One Yellow Rabbit Performance Troupe and has written several productions for the company.
He is currently working on a children's novel.

Some poems originally published in Last Issue Magazine, Winter 1987.

Illustrations by Wendy Toogood.

(c) Copyright 1986 Kirk Miles. All rights reserved. Recorded at Syntax Arts Society, Calgary, Alberta, October 26, 1986.

Poetry is a bit of a change of pace for Golden Rock, but Kirk Miles makes the cut because: (a) His cassette was put out by Syntax, who also released music by Big Dog and the Rip Chords and (b) It's a good example of the artistic cross-pollination (e.g., poets doing readings in punk venues) that made Calgary's '80s scene so vibrant. Heck, not only is Miles' old theatre outfit, One Yellow Rabbit, still going strong, they've even got the original Ten Foot Henry plywood cut-out in their performance space! (Anyone have a photo of Henry they could send in for our "ephemera" series?) Huge thanks to Brian at Syntax for sending in a copy of the cassette!
Download URL in comments.

Beyond Possession: Tell Tale Heart (1985)

2008-06-14T08:15:00.000-07:00

Released on 7" vinyl by Rooter Records (MR-01).

Side One
Tell Tale Heart (words: Kenney)
What's the Matter? (words: Hadley)
Skater's Life (words: Hadley)

Side Two
No Religion (words: Hiebert, Kenney)
Vengeance(words: Wall, Kenney, Beatty)
Dying Fast (words: Kenney)

Beyond Possession is Beyond Possession

Engineered by: Shane
Produced by: Beyond Possession
Photos by: Ian Groll
Film Processing: Darren Robertson
Cover Art: Bill Baker
Manager: Dave Westlake
Road Crew: Mike Binder

Special Thanks to: Hutch, Gubby, the Stretch Marks and Matt, Paul and Bill of Smilin' Buddha Tattoos for the ratty tat tats and killer art work, Jerry for the word "scud", Narly and Tylenol for watchen' em, and to the bad guys who make wrestling what it is

Thanks to: Mr. and Mrs. Wall, and Dave Rockdonald for the practice spots, Plaza Grocercy for the Cokes and Twix, John Hiebert, Brent Beatty, Bryan Wall, and Sheila Cameron, Sean for the T-shirts, Ryan for having fun, Craig Marshall, Mark "Iggy", and the Pac Mans Vintage Musical, Mainly Music, and to all the people who support their local bands.

Later reissued, again on 7" vinyl, by Fango Records (FR-001), minus "Dying Fast."

Download URL in comments.

Beyond Possession: Beyond Possession Is Beyond Possession (1986)

2008-06-14T08:08:00.000-07:00

Released on 12" vinyl by Metal Blade Records (KRUNCH-001)

THIS SIDE
Never Nothing New
Life Force
Dying Fast
Living To Tell You About It
Last Will And Testament
You're So Important
Final Daze
Why? It's Youth

KRUNCH! SIDE
Beyond Possession
Creeping Eruption
Hard Times
Attitude Problem
Depression
Cinderella Sindrome
I'll Never Rest In Peace

This album is dedicated to the youth. Youth is a state of mind.

Thanks to: All people who strive to be and ARE Beyond Possession. Those who stayed beyond possession, you know who you are. To the people who gave of themselves to create the album.

Special thanks to: Brian (Slats) Slagel, Bil (Rockin' Gus Onion) Metoyer, B. Ware, Mofo, and everyone at Thrasher Magazine and Deuxe. Ken and Sandra at the Record Store. Beth (for giving greatly). Cal (3 a.m.) Tire. Sean Holowaychuk (for the killer T-shirts). Adam Bomb. Ox and Carcass Bews. Whale Unit. Huckster. Dave Westlake (from the beginning to...). Rick (for the killer axe). Johnny Cruse Drum Shop. Arlene, Angie, Cheryl, (for their support, emotional and financial). Barb Carter. The "Hags". Robyn, Fred, and Rick. Jim C. Bomber. Kevin Mitchell R.I.P.

Roadies: Steve Friedlander. Tim (Rim) Bews. Mike B. Ted Sim., and anyone else who lent a hand.

A "Fuckin' Eh" To: Al Swanky. The Dogs and Guys at the 702 House. Barry at Vintage Music. The Custom Officer at Osoyoos, B.C. Tony. Tom PIg. Adam in S.L.C. Brad Raunch. Pat (Right Direction) White. Ben and Craig. The Guys at Track Record; Ken, Brian, and Al. Brad Perkins. Danno and the Keg party. Marty and the girls. Jim. Craig (for the hockey fight video). Odie the Roadie. Jose. Joy. Paul C. Vanito.

Bands: D.R.I., Dr. Know, The Melvins, Power of the Spoken Word, Hirax, R.K.L., Verbal Abuse, The Offenders, Gang Green, Die Dreuzen, Tales of Terror (for the Toons), and al the bands who are true to what they believe.

Our Parents: Gwen, Morris. Don and Wendy. Mom and Dad Yauk.

To Our Second M&P's: Jim and Gwen. Ma and Pa Bews. Mr. and Mrs. Lukin. Z's mom. The Sears family. Jim's folks in St. Louis. Marty's youthful mother.

Sack List: We know who you are, do you?

Originally posted at Screw Deathcore. Download URL in comments.

MEDIA "ALERT" #2

2008-04-20T23:22:00.000-07:00

Continuing a very infrequent Golden Rock feature, in which we revisit those rare occasions when the Calgary underground music scene surfaced in mainstream media.
The January 1986 issue of Calgary magazine devoted six pages to a feature on the Calgary underground music scene. Text by John Portwood, photos by Ellen Brodylo and Mike Morrow.

Far, Far Out
Calgary’s elusive underground rock scene is easy to miss and harder to find. Like, dig it if you can

There is no money and even less attention to be had by an underground rock’n’roll band in a Top-40 town. These uncompromising groups have few venues to play. Ten Foot Henry’s was alternative music’s focal point, but poor attendance and LRT construction put an end to that. At this point, it’s not clear what nightclub might emerge to fill the void. Local musicians are wondering how the underground scene will survive. This sampling of dedicated and unusual bands, however, makes it clear that it will take more than a C-Train to stop the music.Tau Ceti
left to right: Barry Calnan, Dan Klauss, Alice Gauthier
Tau Ceti knows you can’t force anyone to think, and approaches its music with that in mind. The group’s front man, guitarist Dan Klauss, writes the lyrics he sings. Alice Gauthier sits on keyboard, alongside drummer Barry Calnan. Together 18 months, Tau Ceti recently released its first single, a love song entitled Radiation. The group’s members agree that there is no way to make a living in Calgary. For the most part, Tau Ceti is a dance band. They’ve made the natural progression from punk-rock cover band (covering material) to composing their own tunes. Upbeat and “pop” one moment, the trio can be dark and bizarre the next. The group takes its name from a Robert Heinlein novel. Tau Ceti is a distant solar system that desperate earthlings mistakenly travel to in search of refuge. By the time they get there, however, earth technology catches up to them in a very literal sense. An album should be ready for release this month. In a symbolic gesture, it will be entitled The Miracle Will Pass: disappearing ink on the record jacket will render the band’s name invisible right before your stereophonic eyes.

Beyond Possession
Beyond Possession is a band of conviction, and its members refuse to have their names published. Their leader fears it would detract from the group’s identity. The group’s name is taken by man to imply an association with Satan and the demonic hype with which heavy-metal bands often flirt. Not so, say the members of Beyond Possession: rather, they claim they are beyond being possessed by ego and material goods. An American and a Soviet flag hang in the band’s house. “We don’t lick anyone’s boots,” says one. A skateboarding tune they wrote and recorded has been distributed on a Skaterock album, a K-Tel-type record for skateboarders. Band members say they oppose both the neo-Nazi sentiments of punk and the blatant commercialism of heavy metal; their music is a hard-core-punk-and-heavy-metal fusion, a compromise that can be appreciated by both the thrashers and the headbangers. Their nameless and energetic leader works hard to keep alternative music alive in community halls around town. They’ve got day jobs and sink all their money back into the band. They travel. They just got back from an 18-state tour on which they peddled a few home-spun records and made a few waves. Insulted by a condescending announcer on a San Francisco radio show—the DJ had had the audacity to ask inane questions about Canadian weather—the band was forced to fill the mike with rude noises. Beyond Possession confide that “he didn’t ask us about our music.”

The Will...
left to right: Ducky King, D. Jewel Davidson, Joe McCaffery, Ted Clark Latimer
The Will… are vocalist D. Jewel Davidson, part-time astronaut and bassist Ducky King, guitarist Joe McCaffery, and drummer and U of C student Ted Clark Latimer. The band’s nucleus has been together for years. The band refused to put a label on its music. Their various influences range from Jimi Hendrix to James Brown’s shoe builder. In a moment of weakness, they admit that their music is “everything rock ‘n’ roll was meant to be but isn’t.” The Will… say Calgary doesn’t treat them badly: They just ignore use, so we ignore them.” A CBC-produced EP was released in 1983. One of the tunes, Funky Babylon, made it to No. 1 on the CJSW charts. While they are skeptical about the band’s future, they’d have no objection to making money if a record label came looking for them. Lyricist, poet and short story writer D. Jewel Davidson has another career in mind: he fancies himself a new recruit in the bag lady corps. And one last thing: they’re not happy about the above photo. Firstly, the photographer wouldn’t allow their fifth member, Happy the Clown, to pose. Secondly, they feel the whole concept reeks of “pouring the band into a glass bottle with formaldehyde.” They’re afraid of the “dissecting middle-class gaze,” so have a good look.

Sacred Heart of Elvis
left to right: Ali, Bartok Guitarsplat, Tim Campbell
Vocalist Ali came up with the band's name when she saw a black-velvet painting of Elvis Presley on a jean-jacket. She saw it as the "mixing of trash culture with trashier culture." Any connection with the King ends there. Tim Campbell's guitar and Bartok Guitarsplat's lap steel have been on the Calgary music scene for some time. Both musicians' roots are in folk: Tim in Irish folk and Bartok in bluegrass. They like the guts inherent in traditional lyrics and call the sound of Sacred Heart of Elvis, "urban folk." Themes of "turning over rocks of one sort or another" recur throughout their material. Tim discovered that when he dropped all the clichés from his guitar playing, he no longer knew how to play. Tim and Ali are students at the U of C, and Bartok sweats it out with a day job. Tim and Bartok point to the Golden Calgarians as a group that best exemplifies the Calgary underground scene. Currently touring out east, the Golden Calgarians are experiencing success without compromising ideas. Sacred Heart of Elvis has a country drinking song called Walking the Floor that's getting some play on CJSW. A cassette tape produced by the band (complete with lyrics and photos) is available in some record stores. All of their lyrics centre on the "trinity of urban life: sex, violence, and drugs." In reality, they say, they're "happy people" who only think horrible thoughts in their songs. They hope to tour once school is out in the spring.

The Mules
left to right: Bradley Frank, Clive Mansfield, Duane Douglas
The Mules have been together less than a year, but guitarist Bradley Frank, vocalist and drummer Clive Mansfield, and bass player Duane Douglas have known each other for years. They’ve played everything from pop to punk rock. The Mules often play the university and get considerable airplay on CJSW-FM 91. Other venues include the National Hotel and Slack Jack’s. Their roughed-up country sound has opened for the Good Brothers at the Glenmore Banquet Centre. The band is happy to play anywhere. Old-time country stars influence The Mules’ music. They describe their style as “traditional pepped-up country.” Keeping alive the idea of simple country music is their main goal. As a result, classic country covers make up 50 per cent of their song list. The Mules have recorded a cassette, but have had trouble finding airplay on commercial radio. Some country stations have expressed interest, but they won’t touch anything that’s not on vinyl. Cash flow is their biggest obstacle at the moment, and their musical style makes it difficult to find financial backing. They hope to record an independent album in the spring and, in the meantime, are keeping their collective eyes open for a distributor.

Age of Reason
left to right: Darren “Meat” Robertson, Michel Dukic, Bernd Kessler, Derek Forman
Vocalist Michel Dukic and drummer Darren Robertson are students at the Alberta College of Art. Guitarist Bernd Kessler and bass player Derek Forman round out the group. They take pride in the fact that they seldom play a piece the same way twice. It’s their assertion that most bands overrehearse. The members of Age of Reason consider themselves individuals and use the group as a vehicle for self-expression. Still, there is melodic interplay between Yugoslavian-born singer Dukic and German-born guitarist Kessler. The band’s members describe their music as total nervous breakdown: “If you didn’t face reality after hearing us, you wasted reality.” They have no money and no recording prospects. However, a number of their tunes, Hollow Smiles and Lady of the Rainbow in particular, are full of potential and emotion. The group’s style can be both chaotically hard-core and poetically stinging. Dukic began his musical career in Germany in 1979 with a church basement group called Rabies. He calls his material “Gothic Christian dance music.” He compares his voice to that of Elvis Presley with a cold, and he avoids writing “stupid love ballads.” Musically, the group hangs on Kessler’s guitar playing. A hairdresser by trade, he detests being a slave to the system: “I don’t smile unless I have to.”

Thanks to Rodney Brent (a.k.a. Bartok Guitarsplat of Sacred Heart of Elvis fame) for sending in these clippings!

Eye On You: Illusions of Freedom (1985)

2008-04-19T20:44:00.000-07:00

Released on 7" vinyl by Ion.

Side 3
Money in Exchange

Side 4
So Ya Think You're Clever

Engineered by Shane (Got a spare Woodbine) Connelly
Produced by Eye On You and Shane
Recorded at In Ear Audio, Calgary, Alberta / May '85
Cover Art—Jon Sawyer
All songs by Eye On You
(c) 1985 ION inc./In Ear/MIN Productions
CAPAC 1985

Eye On You is—
Gaz—vocals/bass
Murdoch MacLeod—guitar/vocals
Paul Max—drums

Special thanx to:
John Gilchrist (guitar crew)
Brian & Mama Max Charlton
George Charlton (who made this disc possible)
Folks at the Manor
Todd
Whale
All our friends

Download URL in comments.

Eternal Now: Hit the OM Chord Babies! (1987)

2008-04-13T23:33:00.000-07:00

Released on cassette.

Side A
Better Homes (Lyrics: George / Music: Eternal Now)
Dream by the Highway (Lyrics: Reynolds / Music: Diochnos)
Curiosity (Lyrics: George / Music: Eternal Now)
Prime Time (Lyrics: Reynolds / Music: Diochnos)
Living in the Free World (Lyrics: Reynolds / Music: Eternal Now)

Recorded at Sundae Sound Studios
Calgary, July 5, 1987

Engineered by Cliff Bekar

Production Assistance from Jeff de Freitas

Greg Boyd: Fender Strat, Device
Andrew Butler: Drums, Tamborine
Nick Diochnos: Fender Mustang
Dania George: Voice
Walt Porochnuk: Bass Guitar
Bill Reynolds: Voice

Special thanks to Doug Wong for the support

Cover design by Peter Nothing

Download URL in comments. Huge thanks to one-time Eternal Now-er/Patabeatnik Richard Powrie for sending this in!

Ohama: Midnite News (1984)

2008-04-10T19:32:00.000-07:00

Released on 12" vinyl by Ohama Records (MN0484).

Side One
Julie is a TV Set (words: Johannes Halbertsma & Ohama music: Ohama)
I Tie My Shoes (words & music: Ohama)

Side Two
Midnite News (words & music: Ohama)
The Call (words: Carla Neyrinck & Ohama music: Ohama)

Produced by Ohama-See

Yana Bothé: CBS audiofile sound effects library, sound ideas effects library
Dennis Marcenko: bass & guitars on "The Call"
Oot Myers: Oberheim OB-Xa synthesizer, DSX sequencer
Tona Ohama: vocals, vocoder, Korg Polysix synthesizer
Carole See: Oberheim DMX digital drums, Yamaha CS-40M synthesizer

recorded & mixed in Rainier by Ohama except "The Call" mixed by Bruce Toll

hand-coloured b&w photos from Tripsichore's production "Along Dark Streets"
image design: Heather Elton
photography: Heather Elton & Glen McDonnall
colour photos: Cathie Coutts
b&w label photo: Raymond S. Walker
drawing on label side 2: Friso Halbertsma

Published by Midnite News Music (PRO CAN) 1984
(c) 1984 Ohama Records

* * *

Ohama released a deluxe limited-edition box set, collecting Midnite News and all his other recordings, in 2006. It sounds like a few copies are still available so we won't post the album here.

Ohama: I Fear What I Might Hear (1984)

2008-04-10T19:31:00.001-07:00

Released on 12" vinyl by Ohama Records (MN1184)

Side One
Of Whales
Sometimes
Feelings
Midnite News IV

Side Two
Where Do You Call Home?
Midnite News II
Body of Vagrant Waves
Part in Peace

All songs written, performed & produced by Tona W. Ohama
Except:
"Sometimes" lyrics by Johannes Halbertsma & Ohama.
"Where Do You Call Home?" cassette letter Dave Albiston.
"Body of Vagrant Waves" lyrics by Rick Therrien

Cover prints by Linda Ohama

Thank you
Chris Daniels, Heather Elton, Mary Jo Fulmer, Bruce Toll, Raymond S. Walker

Made in Canada
Recorded on a potato farm 8 tracks
(c) 1984 Ohama Records, Box 90, Rainier Alberta, Canada T0J 2M0
Published by Midnite News Music (PRO CAN) 1984

* * *

Ohama released a deluxe limited-edition box set, collecting I Fear What I Might Hear and all his other recordings, in 2006. It sounds like a few copies are still available so we won't post the album here.

Ohama Meets Dania: Love Only Lasts Awhile (1986)

2008-04-10T19:31:00.000-07:00

Released on 12" vinyl by Ohama Records (MN0486 Ohama)

Side One
*Gaslit Squares
*Don't Be Afraid
*Your Face
Lola
*Lonely Heart Dance

Side Two
**The Drum
***My Time
Talking About
*Take Me Dancing

*written by D. George, all other selections written by Ohama
**previously released by MASM on the HAWAI label as part of a 4 LP compilation Nov. 20, 1985 France
***mixed Sept. 17, 1982, previously released as a video by Mike Baker
All selections published by Midnite News Music (PROCAN). Copyright 1986 Ohama Recordings

Cover Art by Ulrike Voll
Bass Guitar on "LOLA" by Rhona Thomas

Thanks to: Marcel Dion, Eva Everything, Ray Walker, Alex Douglas, Ten Foot Henry's, Richard Patterson, Richard Motokado, Richard Sweret, Heather Elton, Peter Goodwin, Avery Tanner, Dave Albiston, Liz Janek, Jamie Cleaver, Ellen Gonda, James Muretich, Susan Francis, Helen Matella, Dave Holden, Daniel Bernier, Kim Deschamps, Dave Smeltzer, Daniel Richler, Heather Malek, Gregg Thurlbeck, Valerie Gregory, Bruce Toll, Bob Weber, CJSR Edmonton, Lenny Stoute, CJSW Calgary, Ben Pettit, Christine de la Celle, Philippe Soussens, Ron Robinson, Pollution Control, Neil Phillips, Angela Whelock, World Records, Campus Radio, Dave Degrood, Rob Bye, Richard McDowell, Tamara Smrdely, Grant Burns, Kevin Brooker, David Cassels, Dennis Smrdely, Leonard, Chris Turney, Roy Warhurst, Grant Sim and all those too numerous to mention who helped out, especially those who sent the wonderful fan mail!

* * *

Ohama released a deluxe limited-edition box set, collecting Love Only Lasts Awhile and all his other recordings, in 2006. It sounds like a few copies are still available so we won't post the album here.

Ohama: "Midway" b/w "Thin Lines" & "And Without A Word" (1986)

2008-04-10T19:30:00.000-07:00

Released on 12" vinyl by Ohama Records (MN1185)

Side One
Midway

Side Two
Thin Lines
And Without a Word

Side One produced by Avery Tanner for Mass Production
Side Two produced by Ohama

Dennis Marcenko: bass guitar, programming
Dick Motokado: Japanese-English vocals*
Avery Tanner: drum programming

Mia Blackwell: backing vocals
Eric D. Hoffaby: conga program

Performed, recorded and mixed on The Potatoe Farm

We're all connected by thin lines
We're only drifting...
Do we exist?
I'm only a shadow of reality...

*In 1941 Dick Motokado was 13 years old. On March 5, 1942 the B.C. Security Commission gave his family 48 hours to move from their home on Vacouver Island. They were allowed to take two suitcases and a clothes bag each. The rest of their property was confiscated and sold. Mr. Motokado went from Vancouver Island to the Hastings Park Livestock Building and then to the relocation camp Tashme. He spent four years there with 2,500 to 4,000 other Japanese Canadians...

The registration card on the front cover is from the 1940's and belongs to Tona Ohama, Senior...

Handmade paper & print by Linda Ohama

All selections written by Tona W. Ohama
Published by Midnite News Music (PROC)

* * *

Ohama released a deluxe limited-edition box set, collecting the "Midway" single and all his other recordings, in 2006. It sounds like a few copies are still available so we won't post the album here.

Tau Ceti: "Radiation" b/w "Bathed in Dark Light" (1985)

2008-04-02T23:23:00.000-07:00

Released on limited edition (900 numbered copies) 12" vinyl by Small Horse Big Apple (SMBA 12-001).

A
Radiation

B
Bathed in Dark Light

Tau Ceti:
KLAUß guitars keyboards vocals
ALICE GAUTHIER keyboards vocals
BARRY CALNAN percussion vocals

produced by FRANK LOCKWOOD
engineer RICHARD HARROW
mixed by LOCKWOOD AND HARROW
executive producer MIKE BEZZEG

recorded at LIVING ROOM STUDIOS SEPTEMBER 1985

from the forthcoming album THE MIRACLE WILL PASS

graphic design GRANT HUTCHINSON
video photos and treatments STUART DUNSMUIR
typesetting PATRICK KORNAK
extra keyboard treatments F LOCKWOOD
hair and makeup GIORGIO BOCCATONDA
masks CHRISTINE COOK
whispering and much joy LAURA GAUTHIER
video direction and production M BEZZEG AND MARINO DINAPOLI

special thanks to FREE RADIO EVERYWHERE, THOSE WHO CARE, D F BURDEYNEY AND THE ROYAL FOR BELIEVING

Download URL in comments.

The Beat Apostles: Here Comes Tomorrow (1988)

2008-03-19T22:00:00.000-07:00

Released on cassette by Qube Assemblage Co.

A
Big Red World (S. Heimbecker)
Art (S. Heimbecker)
Here Comes Tomorrow (P. LeBlanc)
Turning Blue (S. Heimbecker)
God Help Them (P. LeBlanc)

B
War Within (S. Heimbecker)
Climate of Despair (P. LeBlanc)
Venus (On a Stainless Steel Bed) (S. Heimbecker)
Descend (S. Heimbecker)
Athena (S. Heimbecker)

All Songs Arranged by M. Walton, P. LeBlanc, S. Heimbecker

Appropriated Radio Library, M. Walton

All Songs Copyright The Beat Apostles 1988

STEVEN HEIMBECKER -- E-bass, vocals
PAUL LEBLANC -- guitar, vocals
MARK WALTON -- drums, percussion

SPECIAL THANKS TO:
WARREN GYSI -- saxophone on DESCEND, TURNING BLUE, ART
ADELE LEGER -- backup vocal on GOD HELP THEM, DESCEND
MAX -- acoustic guitar on ATHENA

Recorded on 8-track at Max Sound Studios, Calgary AB
Engineered by Max Brisson, Arnold Bender
Mixed by Arnold, Max, The Beat Apostles
Photo -- Shannon Hale
Cover design and layout -- Mark Walton
Produced by: Qube Assemblage Co.

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Huge thanks to Apostle Steve Heimbecker for the tracks and artwork. People in the Montreal area would do well to check out his latest installation, The Turbulence Sound Matrix, in May 2008.

Rip Chords: View from Above (1985)

2008-03-09T12:14:00.000-07:00

Released on 12" vinyl by Concrete Discs (001)

This Side
Bible Funk Thump (lyrics Richard McDowell, music Rip Chords)

That Side
Just Before (lyrics Adele Leger, music Rip Chords)

Kevin Labchuk — keyboards
Adele Leger — vocals
Max — Guitars, backup vocals
Richard McDowell — bass
Peter Moller — drums, backup vocals

Produced by Miles Wilkinson and the Rip Chords. Engineered by Miles
and Steve Graupe. Recorded and mixed at Smooth Rock Studios, July
1985. Calgary, Alberta. Songs copyright 1985 The Rip Chords. Arranged
by the Rip Chords. Cover design: Peter Nothing. Back cover photo: Roy
Hood Enterprises. Printed in Canada

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Files courtesy of David Veitch, who devoted much ink to the Calgary scene during his years as the Calgary Sun music scribe--thanks very much, sir!

Big Dog / Rip Chords: Second Coming / The Need to Laugh in Uncertain Times (1984)

2008-02-19T23:12:00.000-08:00

Released on 12" vinyl by Syntax Publishing (SPLP-001)

Side A: Big Dog
Immigration
Sad Cafe
Feminine Protection

Side B: Rip Chords
Forty Second Delight
Words
The Heat

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The Presence: "Blown Away" b/w "Mechanoid" (1982)

2008-02-19T20:25:00.000-08:00

Released on 7" vinyl, no label given (WRC3-2173).

Side A
Blown Away (K.G. Higgins)

Side B
Mechanoid (The Presence)

Presence: KG Higgins voice • Brad Spaz guitar • Grant Sim bass • Rob Hayter drums • recorded, mixed 19 may 1982 Smooth Rock Studios, Calgary, Gabriel Boucher engineer (c) the PRESENCE • thanks to Rob Brink

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The Presence: Meeting the Demands of Society is No Excuse (1981)

2008-02-13T08:03:00.000-08:00

Released on 7" vinyl, packaged in a 7.5" x 10.5" envelope. No label given. (DWM 4514)

White Side
Concrete/Metal
Struck by a Disquieting Muse
Disease

Black Side
Seduced by the System
Getting Twisted

5 songs written & performed by The Presence

Presence are Rob Hayter, Grant Sim, Brad Paffe, and K.G. Higgins, assisted by Ian Grant (syndrum, percussion, background vocal) and Brian Andrishak (percussion)
Recorded & mixed at R&R Sound, Calgary. Engineered by Harry Rosenthal
Photo by Lizzy Vogue

(c) 1981 the presence...our thanks to Grant Poier...mutants unite!

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EPHEMERA #2: Tau Ceti & Funeral Factory buttons (c. 1986)

2008-01-28T07:55:00.000-08:00

Continuing the infrequent Golden Rock series cataloguing Calgary music scene ephemera. These are one-inch promotional pins produced by the Small Horse, Big Apple label. Clockwise, from top: Tau Ceti, Funeral Factory, and the logo for Tau Ceti's "Radiation II" single. Thanks to kpod for the shot!

* * *

If you've got photos of other Calgary '80s indie music artifacts (our wish list includes photos of the Joe 90 and Sacred Heart of Elvis stencil graffiti that once dotted the downtown, the Westward Club zine, the Ten Foot Henry's sign--but we're open to suggestions and submissions) don't be shy. Contact info in sidebar.

EPHEMERA #1: Club Notes shot glass (1986)

2008-01-16T22:49:00.000-08:00

Here begins an infrequent Golden Rock series cataloguing Calgary music scene ephemera. (We'll leave concert posters up to sites that can do it much better than we ever could, like Gigposters.com and Punk History Canada.)
This shot glass (7cm tall, 5cm diameter) was given away during the grand opening of Club Notes: Wednesday, January 15 to Saturday, January 18, 1986. The club was located in the old Airliner Inn (4804 Edmonton Trail NE), which became a Travelodge circa ’89 and later (and still?) a Quality Hotel.
Featured bands: Skinny Puppy, NEOA 4 and (from Calgary) the Ripchords and Eden's End. (Shooter is clear, uncoloured glass; for the photo, milk was added to boost contrast on the lettering, although we doubt much milk was consumed at Club Notes.)
In the Friday, January 17, 1986 Calgary Herald, James Muretich (RIP) did a little pulse-taking halfway through Club Notes’ opening, and the local talent earned kinder words than the out-of-town headliners:

Headline act drags down new nightspot's opening
By James Muretich
(Herald staff writer)

Calgary's latest nightspot entry into the rock 'n' roll sweepstakes, Club Notes, opened its doors Wednesday to mixed reviews from first-night patrons.
The negative remarks had little to do with the room itself and dealt mostly with the music.
The headlining act, Vancouver's Skinny Puppy, certainly was a curiosity but its Gothic-rock also was a big bore. Dried ice, black clothing and a singer with a fixation with Joy Division, Bauhaus and Alien Sex Fiend's ghoulish stage presence does not an exciting act make.
Skinny Puppy should've listened to the Bauhaus song: Bela Lugosi is dead. So quit trying to revive him.
Local band Eden's End is a young group that is guitar-oreinted and R.E.M.-influenced. At this point, the band is rough around the edges and its stage personality is nonexistent.
However, Eden's End is very young and at least it's moving in the right direction.
Some critics (isn't everyone a critic?) felt the room was unimpressive, but some of the best clubs in Canadian history (Toronto's El Mocambo, Montreal's Rising Sun) were not architectural wonders.
Club Notes is a good, large room with a spacious dance floor. The decor is typical tavern, but who cares? The bottom line is the music.
And Club Note's ability to draw people to its northeast location will come down to the quality of acts it brings to town. Booking agent Dean Bertsch is on the right track by looking at what is commonly called more alternate rock acts. What Calgary doesn't need is a top-40 bar.
There is talk of John Cale returning and performing at Club Notes as well as Tupelo Chainsex, which was a big hit at the National Hotel last year.
If Club Notes brings in good bands, it will succeed.
Tonight The Rip Chords entertain and NEO-A4 performs Saturday. Next week promises to be a good one with Toronto reggae band The Sattalites at Club Notes Jan. 22-23 and Vancouver's Moev there Jan. 24-25.

* * *

If you've got photos of other Calgary '80s indie music artifacts (our wish list includes Tau Ceti "Radiation" buttons, photos of the Joe 90 and Sacred Heart of Elvis stencil graffiti that once dotted the downtown, the Westward Club zine, the Ten Foot Henry's sign--but we're open to suggestions and submissions) don't be shy. Contact info in sidebar.

Tau Ceti: So Far (1986)

2008-01-13T00:26:00.000-08:00

Released on 12" vinyl by Small Horse Big Apple (TAU-MINI-12).

Track listing:

Near Side
...And I Wonder (Alternate Version)**
San Francisco**

Far Side
Radiation II (Fallout 86 Mix)*
Bathed in Dark Light (Rhythm Version)*
It's All Too Much**

Barry Calnan: Percussion-Vocals
Alice Gauthier: Keyboards-Vocals
Dan Klauss: Guitar-Vocals

**Produced by Dan Klauss
*Produced by Frank Lockwood (1985)
Remixed & Reproduced by Dan Klauss (1986)
All tracks engineered by Richard Harrow
Production Assistance: Mike Bezzeg
Photography & Graphics: Grant Hutchinson
Art Direction & Management: Mike Bezzeg
Executive Producers: *Mike Bezzeg, **Marc & Gillian Bowles
All tracks recorded & remixed at The Living Room

A thousand thanks to:
The Fans, Marino Dinapoli, Grant Hutchinson, Richard Harrow and all who have helped and worked so hard.

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The Funeral Factory: Living With Ghosts (1987)

2007-12-07T21:31:00.000-08:00

Released on 12" vinyl by Small Horse, Big Apple (FUN-MINI-12).

Track listing:

Whiteside
Carousel Of Lies
People Need
So Elvis

Darcside
Heartbreak Hotel
Purpose Extinct

Religion Darc: guitars and vocals
Religion White: keyboards and vocals

Produced by Mike Bezzeg
Engineered by Richard Harrow
Recorded at The Living Room, September-October 1986
Mixed by Harrow-Bezzeg-TFF
Photography & graphics: Grant Hutchinson
Management & art direction: Mike Bezzeg
Thanks to Cecelia & Hazel

Guests at the wake:
Dennis Marcenko
Bass: So Elvis, H.H.

Ohama
Emulator II (Wall of Horror) : H.H.
Weather: People Need

Cote
Natural and Simmons snare: H.H.

James Muretich
All Night DJ: H.H.

The Hell Choir
Backing Vocals: H.H.

All tracks written by The Funeral Factory 1987 PROCAN except "Heartbreak Hotel" (Tree Publishing Co. Ltd c/o Dunbar Music Canada)

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The Hot Nasties: The Invasion of the Tribbles EP (1980)

2007-12-07T20:39:00.000-08:00

Released on 7" vinyl by Social Blemish Records (SB-001)

Track listing:

Side One
I Am A Confused Teenager
Invasion of the Tribbles *

Side Two
The Secret of Immortality

Wayne Ahern: rhythm guitar
Tom Edwards: drums
Warren Kinsella: bass, vocals
Pierre Schenk: lead guitar

All songs by Kinsella & Schenk except * (Warren Pierre, Pat, Ron, Alan, Neil, Sonic and Allen)
Arranged by the Nasties, produced by Nuclear Age
Engineered by Bary Morice and Pete Slupski
All songs (c) and (p) 1980 Fog Eye Productions

Photo by B.Wright, esq.

* * *

Buy the CD re-release here.

MEDIA "ALERT" #1

2007-11-23T22:01:00.000-08:00

Introducing an infrequent Golden Rock feature, in which we revisit those rare occasions when the Calgary underground music scene surfaced in mainstream media.
This installment (no byline, photo by Brodylo/Morrow) comes from the March 1986 issue of the short-lived Calgary magazine:

Golden Bruno
In 1978, when Geoff Smith and Bruno (“just Bruno”) were students at Queen Elizabeth High, their rock band was called The Remains, perhaps a not-so-coincidental bastardization of their idols, The Ramones. Two years later, morbid punk names died and The Golden Calgarians were born.
As the contradiction in their latest album title Savage Love suggests, they play to mixed reviews. They have been described as “raunchy and loud” and “tight and passionate.” Montreal loves them.
Doug Smith plays guitar and Dave DeGrood handles bass. The raunch is Bruno, 25, lead singer and lyricist. His good looks have made him successful as a nude model at Alberta College of Art.

[photo caption] Just Bruno: Golden Calgarians' raunch component from 25-year-old singer.

The photo is a reference to “Chicken-On-The-Way,” the Golden Calgarians’ 1979 musical tribute to the local fast food institution: “Chicken legs, chicken wings, chicken necks, and chicken breasts! You can get it all from Chicken-On-The-Way! I don’t want no finger-lickin’—I just want some good fried chicken!” Mid-song, Bruno recited the slogan that used to be printed on the sides of the restaurant's iconic yellow boxes: “Chicken-On-The-Way chickens are the only chickens raised in metal cages in Alberta. Therefore, they do not run around the barnyard eating just anything and everything they see, but are fed a scientifically well-balanced diet promoting fast, sure, even growth, producing a well-fleshed bird in just seven short weeks.” The song, a onetime mainstay on CJSW airwaves, doesn’t appear on any Golden Calgarians release. If you have a copy, we here at Golden Rock are all ears: humanitylover[at]gmail[dot]com. UPDATE 07/25/2008: “Chicken-On-The-Way” has been found.

[Thanks to Mr. Lackey for digging up this one at the library.]

Tau Ceti: "And I Wonder" b/w "San Francisco" (1986)

2007-11-04T12:24:00.000-08:00

Released on 7" vinyl by Small Horse, Big Apple (SHBA-71).

Track listing:

Side A
And I Wonder

Side B
San Francisco

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