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Hi! There’s still lots of shifts free for anyone who wants to be a DJ. No experience necessary, we’ll give you all the training you need! Come on up to the third floor of the Barn, or call our of- fice at 566-0417.

The Top 20 chart is back, aired every Saturday night at 9:00 pm, and hosted by Craig Cornier. You can hear the Top 10 Canadian Albums on this show. Don’t forget that both charts are compiled from the DJ’s playlist,

Tragically Hip Interview

CIMN’s station man- ager, Rodney. St-Pierre, recently spoke to Gordon Downie, vo-al- ist with “The Tragically Hip”. The following is an excerpt. from that interview during the Cana-

dian band’s tour and-promotion

of their latest album, “Up to Here”. CIMN: First off, I’k like to

comment about your live show. You seem to put a lot of emotion into your performance.

Hip: It’s the only way I know how to perform, to tell you the truth. It requires a certain amount of intensity to perform. I don’t think I could sing the set sitting on a stool. Up on stage, if someone could stick with a script and “stay in character” for an en- tire set, then that would be pretty cool, but I don’t see how it can be done. I myself take every sec- ond as it comes.

CIMN: With all the emotion you put into your performance, it seems that the songs come from a personal point of view.

Hip: They’re definitely sung from the heart. Some of the things that I find myself writing about aren’t actually events that have necessarily happened to me, but are maybe imagined or con-

jured. I don’t think that there are any rules to writing songs. I write about things that have happened to other people or that I think are going to nape in the future as

well. I’ve never gone over my lyrics

and picked a “theme”. A lot of people do that, amd they might say, “This albunris about.. “But I believe that’s wasually dene in

retrospect. It would be too limit- ing to sit down and say to your-

self that you were going to write

Station News

which include your requests, so call the CIMN request line at 892-CIMN. Better still, have a peek at some of our program highlights and you should be able to find a mode that fits your mood. Sandy MacLure our pro- duction assistant has changed his office hours from Thursday to Saturday at 4:30 pm. He'll be around the station at that time to

help out anyone who needs help with promos on pre-recording a show. that it until next week.

about nothing but a particular

theme! It would be kind of tough ©

too.

then, how do ideas come to you?

Hip: I think it happens dif- ferently everytime. true constant in songwriting is

that it’s seemingly different pro- céss everytime. Sometimes Gord

Sinclair (Tragically Hip’s bassist)

will have a melodic idea, I may * have some lyrics written down ~ and the words and music marry -

Other ©

realiy quickly and well. times we start with nothing:

We wrote “Trickle Down” (track

from “Up to Here”) in ten min- utes at Gord’s place one day while we were waiting for a ride to pick us up.

CIMN: So you’re always writ- ing?

Hip: Yeah, I try to, if for no other reasons, then for therapeu- tic reasons.

CIMN: I find a lot of your iyrics abstract, could you explain a bit about them, such as those in the song, “Blow at High Dough”?

Hip: The term is something my mother used to say, which means “moving fast than your able” or trying to run before you can walk. So with that idea in mind, the rest of the lyrics fit in.

CIMN: How did you guys get together?

Hip: Well, we were all go- ing to the same high school in Kingston, so we were all playing in different little bands. After high school, a few of us were go- ing to Queen’s University and we decided to start a band there. We played around the university for a couple of years, and then moved out and went around the city, and then around Ontario, and things went from there.

CIMN: When you write a song E

—The one

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The Sattalites are an eight- member band who emerged from the Carribean/Reggae scene in Toronto with a blend of tradi- tional Reggae rhythms, off-beat covers, and catchy, well-written original music. The mixture of colourful keyboards, bright horn lines, solid rhythm grooves and crisp guitar hooks estab- lishes a sound comparable to the British urban-Reggae band UB40, asound which is infectious dance music.

From their formation in 1983, the Sattalites have established themselves in Canada, the U.S., and Jamaica and have won a nomination for two Casby awards, two ‘Toronto Reggae awards, and two Juno nomina- tions.

The band has a collective no- stars approach to lead vocals.

Lead vocals by Fergus Hamble- ton are often alternated with some waltzing time Reggae rap- ping music by Jo-Jo, the mildest- looking member with long, fly-

The Sattalites include Jo Jo Bennett-flugalhorn, vocals; Neil Chapa - guitar; Reggie Evans - drums; David Fowler - keyboards; Neville Francis - guitar, vocals; Fergus Hambleton - saxaphone, vocals; Bruce McGillivray - bass guitar; Bruce Robinson - keyboards; Felix Taylor - trombone.

ing dreadlocks and small round sunglasses. The combination of “straight-man” Fergus Hamble- ton an expatriate Jamaican flu- galhorn player a veteran from the early days of Reggae in the 60’s underlines the multi-racial roots of the musicians.

The Pop-Reggae fusion sound of The Sattalites can be found | on their third album “Miracles” (WEA/Risque Disque). It is a collection of new originals and old favourites with something new for everyone. Sweet vocals, com- bined with punchy hours riding over some “roots roddin” give the mssive a universal appeal. The first hit-single was “Too Late to Turn Back Now”.

UPEI students will have the opprtunity to listen to the_band first-hand on Satur- day, Jan 27 at The Barn. Advance tickets will be on sale at The Barn.

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