UINIVERSHTY OF PRINCE EDWARD ISLAND

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102.3FM/700AM

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Station News

If you happen to be pulling an all—nighter this Friday Night, Pat Ca- vanagh, George Anderson, Bruce Findlay, Jonathan MacWilliams and maybe Dave Griffin are go- ing to do a special “all—nighter” broadcast this Friday from mid- night until 9 am Saturday morn- ing. Yes, that’s right, 9 hours straight without even a break for a snooze! Give them a call at 892-CIMN at around 5-ish, keep these guys awake and win some records. The “all—nighter” was attempted a couple of weeks ago at a remote broadcast in Bernar- dine Hall, but we ran into some problems with security. (Just in case some people noticed us set- ting up and then suddenly disap- pearing.)

Well, we’ve made some fur- ther improvements to “The Beat Music Charts”. _ CRTC regu- lations require CIMN, like any other radio station, to play 1/3 Canadian content. It was felt that this regulation distorted our Top 20 album chart, so we’ve now separated Canadian artists from everyone else. There is now a Top 10 Canadian chart and Top 10 International Chart of course, you can hear this new format on Saturday nights at 9 and again on Wednesday morning at 9 with Craig Cormier.

well, you aren’t alone.

Saturday eal tans

Nov 11th

Bite : Rocky Horror Picture Show

tty aa tel cis

Prince Edward Cinemas 55 Grafton St.

CHOlK HAZARD

Programming and information you can't live without from CIMN

The management staff of CIMN are hopping over to Hali-

fax for an Atlantic Conference of &

the National Campus Radio As- sociation, (NCRA). At the top of the list of things to discuss at this meeting is the Polygram strike, and hopefully, there’ll be some positive news on this matter by next week. 3

Kristine Suzuki, who has been acting as Assistant Manager on an interm basis since September, has just been officially hired by the Student Union as Assistant Manager of CIMN.

That’s it for now!

Record Review: Ray Lyell and the Storm Spy Records, 1989

It is evident that the Cana- dian folk scene is making a come- back of sorts in terms of access- ing the mainstream audience; one need only look to bands like Spirit of the West for proof. It may be. difficult, however, to ascer- tain whether Ray Lyell is, on the whole, in keeping with this folk resurgence with this album, or if he’s going off on a tangent all his own.

There is no mistaking the strong folk influence in Lyell’s brand of rock; the constant strum of accoustic guitar and the use of other accoustic instruments throughout the album attest to this. There is, for example, a great deal of piano on the al- bum; there is even a fiddle on, “I Find Peace in Your Eyes”. The more extensive listener may be reminded somewhat of Late 60’s folk/pop groups like The Band. What makes Lyell hard to cate- gorize is that his use of crunching electric guitars and thundering drums points to mid-70’s rock. What we see here may be the in-

fluence of co-producer Gary Mof- &

fet, a former April Wine main- stay, who also plays some guitar on the album. To add to the

muddle even more, Lyell and the i‘

Storm even throw in some coun- I feel,

try with “Burning Up”. however, that their experiment

with country is little more than a

diversion, for it does little to de-

fine their sound, which, to say the §

least, is quite distinct.

REVOLUTIONS,

Granted, it’s a sound that gets rather mundane as the al- bum progresses. ‘There is little question that this blend of folk and rock is one that works, al- though the listener may find that there arises a problem of. pre- dictability. This fact may, on the other hand, further define the sound of Ray Lyell; the listener who likes the sound may not worry unduly about predictabil- ity. Rather, he might like to think of it as consistentcy. Unfortu- nately, the album is, for the most part, so consistent that there is no one outstanding track that re- ally could be issued as a single.

Thankfully, there are few out- standing traits that save the al- bum from the doom of eternal obscurity. One of these traits is the versatility of co-vocalist Paula Tessaro. One ought to keep in mind that a powerful voice like her’s is something that cannot be acquired; that’s why good singers are often hard to come by.

The feeling that I got when listening to Ray Lyell and the Storm is that they were the type of band whose presence could be better felt in a live atmosphere; one sooner expects to see them at the Barn, as one would Richard Janik or Mike Woods, than to hear them on record. They are not what one might call an im- pressive vinyl band, and there are some weak spots on this al- bum; that’s not to say that it isn’t worth the money. Ray Lyell shows that he’s able to create an identity for his band. More im- portantly, he shows that there’s no substitute for the ability to write good songs.

—Paul Madryga

MUSIC

read AC

The Bridge: A Tribute to Neil Young

In 1979 Neil Young sang that “_..it’s better to burn out than to fade away.” In keeping true to the spirit of rock ’n’ roll and for over two decades Neil Young has never given in to complacency. He has not faded away because of his very adventurousness. His willingness to take chances in his music has sometimes led to fail- ure but as often as not has pro- duced work of lasting value.

In 1989 a number of young artists and bands have come to- gether to pay homage to this man and his unique talent. The Bridge: A tribute to Neil young was produced, in part, to aid the Bridge School, an organi- zation devoted to needs of physi- cally challenged children. The al- bum consists of twelve different artists. In effect the music spans Neil’s whole career but with some lamentable omissions. In fact, one of my only criticisms is that the album is too short because, on the whole, it is brilliant.

The bands featured on this compilation to Neil the greatest compliment by re-interpreting the material and making it tran- scend its own origins. Ultimately, what we have here are great songs (some well known) put through the spin—cycle of late 80’s angst— rock and presented steaming and thoroughly modern.

The album begins with a rous- ing version of Barstool Blues by Soul Asylum. Victoria Williams (with help from the Williams Bros.) sounds like a female Neil Young on the understated, acous- tic Don’t Let It Bring You Down. The Flaming Lips cover

Program Highlights

Thursday 2:00-4:00 pm —“Matt’s Music Marathon” — Are you

sick and tired of hearing sick repetitive music (i.e. Pop) by the likes of George Michael, Rick Astley and Milli Vanili? Then turn

in to Matthew Hanus on M.M.M.

Sunday9:00-11:00 “ The Southern Fried Rock Show” — Bob | Smith is the colonel who serves good time Southern Rockin’ tunes ® distastefully and disrespectfully blended with the best of classic rock. Tune in, it’s finger licken’ Radio!

Tuesday 1:00-2:00pm “To Be Announced” - This is not dead

air this is the name of the show. DJ’s Bobbie and Raydon play ev-

erything from Harry Belanfonte to Art of Noise, plus any requests.

After The Goldrush and Nikki Sudden and The French Revolu- tion tackle Captain Kennedy. Nikki plays some great guitar here but his voice is unsuited to the material. Cinnamon Girl is such a faultless song that it is handled with ease by Loop. The album’s high point, ironi- cally enough, is Nick Cave’s ver- sion of Helpless. Nick manages to capture the brooding, dark stream that runs through much of Neil Young’s material and, if possible, renders it more power- ful. His voice shakes one’s soul to the bone.

The second side features the Pixies and Sonic Youth cover- ing Winterlong and Computer Age respectively. These are more obscure cuts which they manage to revitalize with their distinct brands of electric mayhem. Psy- chic TV does a beautiful lament of Only Love Can Break Your Heart. Lotta Love by Dinosaur Jr. would be great except that the vocals are a joke. On the whole this is an excellent compi- lation, only to be outdone by the real thing.

WHE REOUEST LINE: 23

(392-2466)

SG

Thursday, November 9th, 1989=== oe ——

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