Saturday, December 31, 1988

Flyer - Saturday December 31, 1988

The bass player, Alisdiar Jones, made this flyer. Other flyers can be viewed at

Friday, December 30, 1988

Saturday, December 17, 1988

Flyer - Saturday December 17, 1988

This flyer was sent to us via Ian Hart.

Friday, December 16, 1988

Release - SNFU "Better Than a Stick in the Eye" LP

SNFU's two record deal was done with BYO and BYO weren't really doing records at the time. A label from New York named Rock Hotel was working with the Nils from Montreal. SNFU's friend Gubby and former road manager had moved to Montreal to work with Randy Boyd at Cargo. He shared this with Randy and Randy decided that SNFU should be the first band to sign with Cargo Canada. Hindsight is 20-20. Chris Williamson got in a war with the parent company Profile Records and the Nils became the pawn. Chris wouldn't release them from their contract and Rock Hotel was unable to record anymore records effectively killing the Nils chance as a band. In the words of Chris Walter, "SNFU dodged a bullet by signing with Cargo".  

On June 21st, 1988 the band drove straight from their last date on tour to Profile Studios in Vancouver. The band bunked with various friends in the city and Marc Belke considers that one of the band's biggest mistakes on this record. We learn from Chris Walter's book "SNFU....What No One Else wanted to say" that Marc believed "instead of talking about the songs and discussing arrangements, we all split up after the recording day and didn't see each other until the next session".
The band picked Cecil English to be the producer on this record and they chose him because of his work with NoMeansNo. The band played live from the floor and Chi cut his tracks independently, using a vocal booth for separation. The sound was stark and unadulterated, the tone loud and hard. The song's were well practised from month's of being on tour.

The producer realized right away that "Time to Buy a Futon" was the best song of the bunch. A clever jab at consumer trends, the songs starts with a blood curdling scream and an avalanche of guitars. The song was so memorable that they started off the record with it.

"G.I. Joe gets Angry with Human Kind" picks up where "Broken Toy" leaves off using toy analogies for human behaviour.

"The Quest for Fun" is a cryptic warning regarding the perils of excessive behaviour.

"Tears" hints at the conflict Ken suffered as a gay man who had yet revealed his sexual identity fully.

"In the First Place" is a bitter lament to failed personal relationships.

Side two opens with the "Postman's Pet Peeve", which is a funny observation about the relationship between dogs and postmen.

"What Good Hollywood" is a furious and slightly nostalgic ode to the passing of classic Hollywood stars.

"The Happy Switch" expresses the band's determination to forge ahead, despite the many obstacles and hardships along the way.

"Straightening out the shelves of my mind" is a sobering observation about the numbing effects of urban density.

"Thee Maul that Heats Peephole" is a clever disguise for a song about the West Edmonton Mall.

"Tour Tantrum" accuratley depicts the tension that builds up while touring.

The album concludes with a cover of Cat Stevens "Wild World" which demonstrates the cheerful playfulness that the band was known for.

In the mixing process the band realized that they weren't happy with Curtis' bass playing. They didn't have the money to go back and fix it. But they were happy with Chi's vocals.

The cover was drawn by Englishman Graham Ward and assembled by Kelly Hansen, portrays a twisted looking family seated on lawn chairs while an ugly baby plays with a very war-like toy in the foreground. This captures Chi's fascination with toys. This was released in December 1988.

01. Time to Buy a Futon
02. G.I. Joe gets Angry with Human Kind
03. The Quest for Fun
04. Tears
05. In the First Place
06. Postman’s Pet Peeve
07. What Good Hollywood?
08. The Happy Switch
09. Straightening out the Shelves (of my Mind)
10. Thee Maul that Heats Peephole
11. Tour Tantrum
12. Wild World (Cat Stevens)

Sunday, December 11, 1988

Flyer - Sunday, December 11th, 1988

The Doughboys were supporting the "Whatever" recording. Courtesy of Noxious Art archives.

Thursday, December 8, 1988

Fail-Safe info sheet

Fail-Safe "Get-Lost"

This was a T-Shirt design.

Friday, December 2, 1988

Thursday, December 1, 1988

Zine - Rear Garde #28

Rear Garde from December 1988. This was issue 28 and featured interviews with All, the False Prophets, Adrian Sherwood, Butthole Surfers, Sham 69, Stratejackets, Jr. Gone Wild, Chris Spedding, the Look People, the Band of Susans and Death Angel. There are scene reports on Toronto, Montreal and Ottawa, music reviews and other column writing.

Wednesday, November 30, 1988

My Dog Popper "668 Neighbor of the Beast" LP

My Dog Popper were form Montreal and were super hilarious. The LP was released on a label called Patois and the songs on here are:
1. Limbo Leader
2. Pushead's a Wanker
3. Green Eggs and Ham
4. Gino (I Lost My Job to a guy Named ... )
5. Suck My Cock
6. Deep in the Heart of the Nite
7. Homard au Carmen Miranda
8. We're Old, We're Fat, and We're Slow
9. Honky Night in Canada
10. Jethro (Suede and Leather)
11. Acid Flashback

Sunday, November 20, 1988

Rocktopus cassette

Formed out of Mike Marley and the Sailors this cassette came out in 1988. The band was made up of Stimey Rockpile on vocals, Buzzy G-Reen on guitars, Bruce Gordon on bass, and Buttermilk Jones on drums. The songs on here are:
1. Dr. Rhythm
2. Intro
3. Wristwatch
4. 1979
5. E-Z Rider
6. Will
7. What I'll Never Find
8. Octoman
9. Risk
10. Sacrifice

Saturday, November 12, 1988

Babies with Rabies demo

This is the band that would morph into Hockey Teeth and later Hockey Teeth. They released a demo that was a rehearsal tape and this was a flyer to promote the tape.

Sunday, November 6, 1988

Saturday, October 29, 1988

Friday, October 28, 1988

Saturday, October 8, 1988

Friday, October 7, 1988

Direct Action 'Damn-Age" LP

"Damn-Age" is a record that came out after the band broke up. The album was released by a label in Hamburg, Germany called Bitzcore. The album featured material from demoes and in my opinion was better because of the raw sound. The songs found on this LP are:

1. 18AD4
2. H-Bomb
3. Liberty
4. Angels of Death (#1)
5. Damn-Age
6. I Like Speed
7. U.X.B.
8. Repression / Eat the Rich

9. P.C.P.
10. Angels of Death (#2)
11. Hate Generation
12. Direct Action / Trapped in a World
13. Tomorrow is Too Late
14. Living Dead
15. Fire in the Sky
16. Emergency

Monday, October 3, 1988

Desperate Minds "Last Night I Had the Strangest Dream" LP

This was Desperate Mind's full length release. It too came out on the band's own label. The songs on here are:

1. Brothers and Sisters
2. Nobody Knows
3. Stuck on 45
4. Miami
5. Writing on the Wall
6. Corpus Christi
7. I'm Not Such a Sweet Thing
8. ...and I cried
9. Maybe I'm Just Naive
10. Strive for More

Sunday, October 2, 1988

Interview - Scream

This was an old interview myself and Harris Rosen did with Pete, the singer from SCREAM, back in 1988 when they played Toronto on the “Bang the Drum” tour. We did the interview at the old Blueberry Hill on Bloor Street, which was close to Ildiko’s, the venue for that show. Here is the transcript.

Have you guys been on tour recently?
Pete (P): Yeah. We just got off being on tour for about six weeks and then we came for about ten days and kinds chilled out for a while. Then we came up here to get even chillier.
Where did the tour take you?
P: It took us from one end of the country to the other, all the way down. You know we hit all four corners and all the points in between, as ZZ TOP would say.
So was this in Europe?
P: No. We are going over there in February, but we have done that once. That was about two years ago.
Do you find that the crowd reactions in the US and Europe differ?
P: Yeah. Especially now because it seems like as far as a lot of the hardcore crowd in the US is concerned, it is pretty much dead. A lot of the people who are our age who use to be into it, aren’t into it anymore. They are jaded or they have gotten older and just moved into a different crowd. We don’t do much advertising, Dischord does, and it seems like a lot of the younger kids are into more metal stuff. And so people aren’t into it as much in this country any more. Meanwhile in Europe, they are a few years behind as far as getting into hardcore. Plus not many American bands get over, so you go over there and people go crazy over it, but also people are generally more interested in politics because they are so sensitive to politics, living in a small country. People over there have to be more aware of what the hell is going on because they are such a small country and they are affected by so many things. Here we think that the world evolves around us. Its not true.
I think that it might also have something to do with a threat. This “threat” of some sort seems to be more prevalent in Europe than here.
P: Yeah. In some ways you’re right because the threat of communism and stuff like that, keeps the democracies and the people so freaked out and ready to fight a war.
Another reason may be that most of the popular wars have been fought over there.
P: That’s true. We haven’t had wars fought on our soil in a long time, since the civil war. It seems that so many families over there were touched by the war and a lot of the people who grew up during the war, have taught their children the lessons that a lot of the people over here didn’t have to deal with because they weren’t affected by the war as much. For instance, my mom. She was born in Holland and had survived World War II and stuff. Her stories of what had happened were passed on to me. They definitely had an impression on me.
Can you tell us a bit about your albums, both past and present?
P: Well we have three albums out. The first one is called “Still Screaming”. The second one is called “This Side Up”. Our new record is called “Banging the Drum” and we have a record coming out in a couple of months, which we don’t have a title for yet.
Is it going to be out on Dischord?
P: No it’s going to be out on a label that we just signed to. It’ll be another DC label called RAS Records.
That’s right. I heard that SCREAM was the first hardcore band to be signed to that label.
P: Yeah, but it depends what you think because they have got some hardcore artists on their label, but not hardcore as may be defined by most people. A lot of people wouldn’t think that a lot of the RAS artists are rockers, but they are.
How did you guys get signed to that label?
P: Well the guy that owns RAS is really into putting out music with a message. He wanted to branch out into other kinds of music. We were a DC band and he came out and saw us and liked us and it went from there. He’s a really cool guy and we like the idea of being on that label. Besides Dischord’s main purpose is to put out new bands and help them get started, especially since most of them break up after they get started. But Dischord really isn’t interested in making money and pushing the band from beyond this starting point. You know that we’ve been doing this for a very long time and it is very important to us. And so to keep doing it we have to survive financially. Dischord doesn’t really provide us with that extra help that RAS can. It’s going to be interesting because RAS is in a position where they are learning. They are going to be much like a brand new label as far as trying to sell our records. So, in some ways there is disadvantages for us, but it’ll work out because it’s not just a one record thing. We are going to be with them for a few records and we already have one ready to come out.
It seems weird that up until now you have always had periods of time between releases and now all of a sudden you have loads of material to release. Is this because you have always had the back up material, it is just that you have had difficulty in releasing it.
P: Yeah. There once was a period of time where Dischord didn’t have the money to put records out. And we didn’t either. Like “This Side Up”. That’s why it was originally released half and half with Rough Trade because before Dischord started working with Southern Studios in London they never could get credit. The creditors in this country won’t give independent labels credit. That’s basically why that happened, but it also had to do with laziness on both parts and stuff.
Side A from “This Side Up” was originally recorded without Robert (second guitarist), but was Side B originally recorded without him as well?
P: No however some of the songs were around.
Well then, how was Robert asked to join the band?
P: It’s pretty simple. He was going out with my sister and that is how we met him. He was in a metal band called TYRANT. We went and saw him and he was hot and he eventually moved into our house. His band would practise there and our band would practise there.
Did they ever release an album?
P: No they didn’t unfortunately. Well he started coming down when we were practising and hanging out. We started jamming and eventually he joined up. We were really glad because our band would not like to be totally defined. People would put us in one category or label us. A lot of people were tunred off when he joined the band and I’m glad because part of the reason for SCREAM’s existence was to irritate people.
On “This Side Up” you recorded a somewhat reggae song?
P: Well it’s got a reggae feel to it, but it is not the WAILERS. It’s SCREAM, not roots reggae. It’s a mutated form of it. I mean we all grew up in the suburbs, we didn’t grow up in Jamaica or anything like that. We are not totally oppressed and have this burning desire to break down all authority.
When will the new record be out?
P: With RAS? It’ll be out in the spring, for sure. But what were you getting at because we recorded two reggae songs on the first record?
But the influence wasn’t so up front.
P: Well we hardly knew how to play our instruments when we recorded “Still Screaming”. We did a song by Eddie Cochrane called “Something Else”, which the SEX PISTOLS did, except that we did it reggae style. We recorded it over in England for “Banging the Drum”, but it didn’t get on. There probably won’t be any reggae stuff on RAS for a while, just because they want to make sure that people know we are a rock band. We do want to do some reggae stuff. We’ve had a chance to jam with EEK-A-MOUSE in the studio already, but he doesn’t want us to do any rhythms with him.
P: It was kinda like us going up to him and saying come on man, we love to play reggae.
So are you saying that you’re not a hardcore band, you’re a rock band?
P: No, we’re just a band man.
Was SCREAM originally considered a straight edge band?
P: Probably. Our lyrics are pretty positive, but we have never hidden the fact that we are not a straight edge band.
What do you think of the ’87 revival in the straight edge movement with bands like YOUTH OF TODAY?
P: I think its great. I think that the message should be out there that you don’t have to do drugs to pass your time. That’s what a lot of kids do in school is get high. Education is the most important thing.
So basically what you’re saying is that a lot of people define the straight edge movement by the MINOR THREAT lyrics “Don’t drink, don’t smoke, don’t fuck”.
P: Yeah, It’s unfortunate because to me it’s more than that. It’s an attitude. In a way it’s anarchy. To me anarchy means being responsible for yourself and to society and if you’re going to be a wasted case than you’re just going to be someone else’s problem.
The movement has had some backlash effects?
P: I think its better because everyone is going through that phase, but I think in the long run, the person that is just getting totally fucked up now, will eventually reach a point where they will either continue like that or get their shit together or tune their life around with it. Like “This Side Up”. That’s what the song “This Side Up” is all about. The straight kids, who are taking it to an extreme right now, will probably get a different perspective on it later, but I think they’ll have a better attitude about life. If you are talking about how some people put down others for breaking this code, one day they’ll realize that everyone is entitled to do what they want.
It seems that between the first two records the sound changed a noticeable amount. Did you set out to get a new sound or was it just a progression?
P: No it just happened. Like you said, it takes a while for our stuff to get released. For instance, the songs on the “Still Screaming” LP were a few years old when it came out.
Do you notice that a lot of people into the hardcore scene will just come and see a band regardless of whether they know them or not?
P: That happens in all music scenes. That’s how a lot of people get turned onto us.
What kind of bands do you listen to now?
P: On the way up today from Columbus, Ohio, we listened to Stanley Clark, Trouble’s new record, the DAMNED, the BUZZCOCKS, Lynard Skynard’s second album. Amy was playing some old blues stuff. What else did we listen to? Some Lee Perry and the Dub Syndicate. We also listened to an SST sampler.
What are your favourite albums of all time?
P: I don’t have any favourite albums.
What bands have influenced you?
P: Everything has influenced us and its not just bands. Television, parents, friends. Musically we probably have the same roots that most white middle class suburban kids have. Even Black middle class. Things like the Beatles and Led Zeppelin and shit like that influenced us before we got turned onto another kind of music.
Are you making any money on this tour at all?
P: Nah. Not at all. We’re still trying to get the band’s name out there. Still screaming.
Do you have day jobs or is the band your full time job?
P: The band is a full time job, but between tours we will usually pick up a job. The jobs always change. Most recently I was a truck driver. Same with everybody else. Nobody has a steady career at the moment.
So basically your life is centred around the band.
P: Definitely.
Do you practise every night?
P: Not every night, but most of the time. Music has always been a big part of my life and my brothers. My brother plays guitar. My father used to manage rock ‘n roll bands. Its been around me ever since I was young.
How are the crowds accepting the new material?
P: Surprisingly enough, pretty good. I mean we play a varied mix. We still play our old stuff, some of our new stuff, and some stuff that has still yet to be released. However most of the kids are still coming to the show wanting to hear something fast. But we just play what we want.
You’ve been around in the hardcore scene for quite a few years, can you tell us of some of those changes that you have seen hardcore go through?
P: Well I’ve just seen it start out, becoming a big thing, and then destroying itself. Then you see new bands come up and do it all over again. They seemly get exploited by the media. It’s all a cycle and I think you find it in all kinds of music.
The song “Sing it up kids”, was it written before or after you went to Europe?
P: Before.
Was it about anything in particular?
P: Just about shows.
I had a feeling it was about Europe.
P: Well it could be, definitely.
It seems to me that a lot of the European bands are speed for the sake of speed bands.
P: Well that may be true in some cases, but like I was saying before a lot of the hardcore bands over there are really into the early sound. Its like they are just starting to get into it.
Actually, I’ve noticed a few bands that have ripped off your band.
P: Well everybody is inspired by other people I wouldn’t call it ripped off. I would say inspired. It is the same like BAD BRAINS did it for us. The TEEN IDLES, the DAMNED, and the BUZZCOCKS all inspired us. That’s why when we came out with “Still Screaming” everybody was freaked out because we were singing harmonies and stuff for that kind of music. We were listening to a lot of the DAMNED and SHAM69 and stuff like that. We were also into a lot of the late sixties American punk, like the SONICS and stuff. We were into that kind of stuff. Everyone’s influenced and that was our outcome of it. Just like Led Zeppelin and the Stones were influenced by early American blues artists.
Do you have any comments about Paul Simon using all those musicians from South Africa?
P: I think that anything that brings Apartheid to peoples minds is important. Even if you use those musicians, they had a choice not to record with him. I think that it is more important to get the music out with that kind of a message. It’s not like how Frank Sinatra will go over there and play Sun City. Its totally different. I think people should be more supportive of what he did.
What happened to your old drummer Kent?
P: Well he has a family and stuff and we don’t make any money at all. He has to support a family and we were lucky enough to find this new guy. He’s a really special person. He used to be in MISSION IMPOSSIBLE. He was also the drummer for a band called DAIN BRAMAGE, who had just put out one record. You’ll see him tonight. He’s really good.
Did you know him beforehand?
P: No. It was one of those things where he knew us and he used to come see us. That’s what made it so easy because he knew every song.
Were you ever looking for a new drummer?
P: We put an ad out. It wasn’t nationwide. Just in our neck of the woods, although we thought we might have to go nation wide. It took us a long time to find someone that would fit.
Did you have a lot of people trying out?
P: No, not that many. The ones that were it was just not happening.
Was the band sitting in idle for a while?
P: Kind of. We weren’t sure what we were going to do.
Do you find it hard to keep going, having been around for so long?
P: Sure man. Everybody tells us to keep going, but every time we play it rejuvenates us and we wash away all the fuckin’ bullshit and just go on.

Saturday, October 1, 1988

Zine - Rear Garde #27

This issue of Rear Garde features Rise and the Asexuals form Montreal, Nomind from Toronto, Tragically Hip from Kingston and Sugar Cubes and Dag Nasty, among other news and reviews.

SNFU Interview in MRR

This interview is an unsual style to it an unusual band. the title of it is the ABCs with SNFU where they give you thoughts about each letter in the alphabet. Murray Bowles photos accompany the piece. This interview appeared in issue 65 of MRR. Download a PDF of the interview here.

Saturday, September 24, 1988

Thursday, September 1, 1988

Zine Archive - Rear Garde #26

Rear Garde was an enterainment newspaper that was published in Montreal and had it's roots on Concordia's radio station CSRG. By issue 26 it was an independent publication and had a lot of great interviews. This issue featured interviews with the Circle Jerks, S.C.U.M., Razorbacks, Ludwig Von 88, Alex Chilton, Cowboy Junkies, Alternative Inuit, Sudden Impact, Vilain Pengouin, Johnny Arse and the Dogs, Adrenalin O.D., 76% Uncertain, and MDC. Sounds like a punk zine. 

MRR Review - Deja Voodoo "Big Pile of Mud" LP

Tim Yohannon wrote a review for MRR of the Deja Voodoo LP. This appeared in issue #64, which came out in September 1988. Click on image to enlarge it to a readable size.

Sunday, August 21, 1988

Friday, August 19, 1988

Interview: No Mind

I did this interview with No Mind back before the LP had come out. I went down to the band’s practice and interviewed them afterwards. I recently came across a transcription of the interview and realized that this was only aired on CHRY but has never appeared in print. Here is an interview from sometime back in 1988.

Could you each introduce yourselves and tell us how you contribute to the NO MIND sound?Dave (D): I’m Dave and I’m the guitar player and I contribute to the NO MIND sound by playing crazy, fuzzed out, wild rock guitar and heavy leads and solos. And I yell a lot to because I’m friendly.
Scott (S): In dresses. Nightshirts maybe.
Allister (A): I’m Al and I play bass and …
S: And various fret work with his fingers.
D: And you play too loud.
A: Yeah and I play too loud. That’s what I contribute.
S: his bass isn’t distorted enough. I sing. I scream a lot and yell and scream and try and be melodic, but I don’t really do a good job.
Could you provide us with a band history?
D: A long time ago, when the earth was greener and stuff, Scott and I got together, I being in a band before and so had Scott and we spent somewhere between a year to a year and a half trying to get members to get things happening. So finally we did around 1985 and it was made up of me and Paul, our drummer, and Scott and we had Andy Ford who is in NOTHING IN PARTICULAR, on bass. We debuted in April of 1985. We played like that for a year or so and then we had differences so Andy was out of the band and we got Allister in after he came down and jammed with us for a while. He said his arm felt like falling off so we figured it was a good idea for him to join the band. And we have been at it like this for three years now.
S: Paul should introduce himself. He is here now.
Paul (P): Hi I’m Paul.
S: What do you do Paul?
D: Explain your contribution to the NO MIND sound.
P: Oh I don’t know. I hit drums.
S: He writes all the time changes in our songs.
What were each of you doing before No Mind?
P: I was depressed.
D: I was bored.
S: I wasn’t doing too much. I went and saw the Toronto bands that were around and still playing, after I quit the band I was in.
What bands were you guys in?S: I was in PRISONERS OF CONSCIENCE.
D: I was in AFHAKEN.
P: I was in A.P.B.
A: I was the original singer in AFHAKEN and I played guitar in SUN ZOOM SPARK.
D: Allister is a two timer.
How did you guys get hooked up with each other?
S: Me and Dave got together first and then Andy and Paul came, and then after Andy left we got Allister.
A: Because I knew Dave from high school.
P: And we knew each other from playing in bands, like AFHAKEN and A.P.B. and P.O.C. we knew each other from shows and stuff.
S: We tried out a few bass players and drummers, but we decided on the ones that worked out and came to practice and didn’t play in heavy metal bands.
How would you describe your sound to someone who has never heard you before?
S: Loud, fast rock is pretty vague, but it’s all there. It’s Loud, its fast, and its rock.
D: It’s over the top.
Individually, who would you cite as some of your influences?
D: That is probably an all around one for sure.
S: Not really. I didn’t start listening to them until only about two or three years ago and I like the kind of guitar stuff they write, but I don’t really care for Ozzy’s singing too much.
P: I would say SABBATH, BAD BRAINS….
D: And we are heavily into that ’77 punk rock stuff all the way until now.
A: And other stuff like HENDRIX and KING KRIMSON, and MC5.
D: I like DEEP PRUPLE. BLACK FLAG were a big influence.
D: Yeah I use to listen to them FLIPPER records constantly. When you were depressed they would make you sick.
S: They had a healthy outlook on life. That’s the only thing worth living for.
A: And recently we have been listening to stuff like NOMEANSNO and CELIBATE RIFLES, DAG NASTY, THE NILS, THE DOUGHBOYS.
What do your lyrics deal with? Are there any issues or messages that you are trying to convey with your songs?
S: The lyrics I write are somewhat personal although sometimes they can be talking about what people might consider political matter, but it is not in a manner of being dogmatic and saying something like this is what imperialism is. I sort of try and re-word it and give people a feeling that I am talking about something that is happening now, but I just don’t come out and say it. I figure that we will put lyric sheets in our records so that people can read the lyrics. I am not singing about that top forty type stuff about how nice life is and how happy everyone is because I don’t see it that much.
Are there any issues that might stand out?S: Personal issues. For instance, I use to work at a lot of shitty jobs and that’s what one of our songs is about.
P: Getting up and having to work. This could be in more of our songs in the future. You write songs a few years ago about working and your still working three years later.
S: Peoples attitudes are another biggy. Even the AFHAKEN song we sing are about people’s attitudes. The “Slick makes me Sick” kind of thing is about an attitude. It is not a personal vendetta about somebody that I don’t really know. It is more like an attitude that a person has, like Elliot Lefko makes me sick is the same sort of thing.
P: Except you can’t sort of say that when you are playing on one of his bills.
Is there anything that you would like people to pay closer attention to?
S: Well I could write footnotes about the lyrics I write, but I think that that is just taking it a bit too far. Maybe at some point I will if people really keep sort of asking us what we are singing about. I could start telling them about the stuff that I read or if the attitudes that I am talking about are too disguised for them to understand, like if they think that I am saying “Fuck You”, well I’m not.
Do you do any cover tunes? What are they?P: “Sick of being Sick” by the DAMNED, just because we love the DAMNED.
D: They were a big influence.
S: They weren’t a big influence on me. I listened to them, but ….
A: They were a huge influence on me. The first DAMNED album is pogo madness.
S: But so is the first SEX PISTOLS album and the first CLASH album.
D: We are doing a couple of songs by a Toronto band the DEMICS because we all use to listen to their songs when we were younger and party out to them.
S: They were a London band and they are a big influence. Everybody was crazy about “New York City”. Back then they played it on CFNY. It was just a very popular song.
P: But we don’t do that song.
A: because it was requested once.
P: We do all the songs that nobody knows.
Can you rhyme off some bands that you have enjoyed playing with?
P: There is more, believe us there is more.
D: Yeah we are just too dopey to think about it.
Has NO MIND toured much?
S: We have played as much of Ontario as is possible.
A: We have been from Ottawa to Windsor. We have played Kitchener, Guelph, and Montreal.
D: we get out of town about once a month, if we are lucky.
S: It is not always so possible to go play out of town. I mean if you go play to fifty people and you don’t make any money, you have to sift that kind of thing out. You can’t keep doing it and end up losing a lot of money.
Is there any places that have stood out and if so why?
P: Windsor was a great show with DAG NASTY.
A: Freakers Ball in a far, field in the middle of nowhere near London.
S: Every time we play Kitchener people really like us a lot. The same is true of Guelph.
P: Kitchener is like almost better than playing in Toronto in a lot of ways because people are really into it.
A: The last gig in Montreal was really cool.
P: I think things are still really cool in Kitchener because I think things are really fresh there so they don’t have any people trying to rule the scene. Maybe it hasn’t happened there yet and hopefully it won’t.
S: They are younger in Kitchener, which is great because …..
P: They get excited when bands come to town. They are really into it.
S: the people who see us in Toronto are slightly older because we have been around for a while and they are getting older. We also play bars too much because we don’t get the all ages shows as much as we would like.
Do you guys have any future plans for touring?
P: Definitely. We will see what kind of a response we get when the record comes out. Who knows? If people want to bring us to town. But yeah, we plan to do a lot of touring once the record is out.
Would it be a full scale summer tour?
D: That would be ideal.
S: the States would be the place to go. We could play the east coast and ….
D: Maybe this year will consist of a lot smaller ones and then maybe we’ll be able to take off and do it.
P: It might end up being two or three small tours of Canada and a big one of the States.
Is the band a full time job or do you guys support yourselves with part time jobs?
Everybody: We support ourselves with full time jobs! The band is also a full time job.
Does that mean the band is just a hobby?P: No not at all. We wish we could spend more time on the band really. You know like do more time on the band really. You know like to do more with it.
A: You got to pay the rent though.
S: That is the rent of where you live and where you practice.
P: We got bills to pay to music stores and just bills to pay.
What kind of jobs do you guys hold?A: Well I am a cook and I have been cooking for six years.
S: I am a shipper/receiver, which is a real recent thing for me because I got tired of the restaurant industry. i.e. washing dishes or food preparation. I just don’t like restaurant work anymore.
D: I am a shipper/receiver just because that’s what I got experience in the first place and I just keep getting Joe jobs.
S: It’s the fringe benefits that Dave enjoys.
D: Yeah pamphlets on lungs.
S: And costumes from certain stores, hmmmm.
P: I work as a bike courier.
Do you guys have any hobbies outside of the band?
P: No because after working all day and practicing all night I don’t really have too much time for anything else.
A: Well if I can get some time in drawing, I’ll do it, but the only time I get to draw is for the band.
S: I read as much as I can, but I don’t find much time to read, either comic books or good books. I’ll go to see movies too.
A: Yeah, actually I like collecting French comic books. When I go to Montreal, I’m blowing the budget.
D: I like reading a lot. It’s either comic books or your main stream schlocky stuff.
Are you guys all comic collectors?
P: I used to be. I don’t collect them now because they cost a fortune.
S: I collect them now because I work at a comic store so I don’t pay for them. I just collect them. Most comics are pretty crappy. There is only a few that I would recommend. Its like, the American comics are all super hero crap and it gets really degrading after a while. I feel like saying “you people have to grow sooner or later.” Its fancy escape which is what I guess they want out of it. You can have comics portraying real life stuff. That’s what happens already.
D: I like old TV shows at four o’clock in the morning.
Who does the artwork for the band?
S: Allister does.
Are there any meanings behind the concepts that you come up with?
A: Most of the stuff that I come up is after I’ve been uh…
S: Explain this Allister (as he points to a NO MIND flyer).
A: I had this piece of 8-1/2” x 11” white piece of illustration board staring me in the face and I was shitting bricks because I had this cover to do for this gig. I started drawing a mushroom with this head attached to the bottom because it was the only thing that came into my head. I had drawn mushrooms before for a project at Art College, so I knew how to draw mushrooms pretty well. I just stuck a head on it and made it as psychedelic as I could. Most of my stuff is just trying to twist an ordinary situation into something surreal. I did a poster of a guy being attacked by a giant ant and stuff like that. Most of the stuff tries to have a sense of humour.
P: yeah it’s not really all that serious, but it is very heavy looking and pretty serious lookin’, but it is always kind of funny.
S: I think people will pay more attention to that as opposed to photocopied, black and white newspaper cut outs, even though I do things like tat myself. Bad photocopies, band shots, or skulls and mohawks becomes too cliché after a while.
How did you come up with the name for the band?
P: We have a song called “No Mind to Lose” that we do, however the context of the song doesn’t really have too much to do with our name.
D: We just kind of like the sound to it.
S: the song kind of talks about people who would be considered No Minds. Most people are aware of it. I’ve actually heard people use the expression, “Oh the guy is a No Mind,” or whatever. It is not like we are calling ourselves no minds or even saying that everyone out there is so stupid. It’s a term that actually exists.
P: There is no other band called No Mind either.
S: it is very original. We didn’t want a number or a letter name. We didn’t want to be called NO MIND number 134 or N.M.H. or any of that kind of stuff.
The band seems to cater to a wide variety in styles of music. The disco mix of that song “No Mind” is but one example. What spawned you guys on to do this song?
S: the disco mix was arranged with the help from another person because basically we recorded a four track and this person without us knowing had taken the original tapes and he had done the whole disco aspect of it. He had done the drum machines, he had done the keyboards, he had thought it up and did it.
P: We didn’t really have anything to do with it.
S: He didn’t ask us, he just did it and said listen to this guys and we just flipped and said like holy shit.
P: It was cool.
S: We don’t realize that sort of potential exists with our sort of music.
P: We never heard our song being played disco. It was just something that he thought up and thought he could do it. It was cool because he took the guitar solo and the original vocals from us and so there is still some of the band in there for sure. There is even a drum role in there that I did that he did something to and it sounds really strange and it’s kind of cool. It was really neat. It blew us away. We wanted to use it. We wanted to put it out on something for the longest time.
S: I’ve actually seen people dance to it. I played it at a party twice and people were actually dancing to it and they asked me who it was after. It just blows me away. It is more assumed that when you play music people will dance to almost anything. If you play what people think is hardcore then they will slam, but if you play them this stuff and they dance to it is really interesting.
P: Some people don’t seem to like it. They want to know what’s it all about. You laugh and dance to it.
S: It’s just supposed to be fun. It is just one of our songs that are turned into a beat box sort of thing.
Can you tell us a little bit about your dabbling in video?
S: We have made a video. It is finished. It is complete. It exists. We have the master tapes ourselves. We have assumed all control. It’s a video for a song and not on the tape. Basically the idea of the video was to put our lyrics in this song into motion, i.e. to act them out. What we talked about in the song we portrayed in the video. And to a degree I think it worked well, but not as well as we would have liked. I think if we spent more time and money on it we could have come up with something better, but I don’t think we want to spend more time or money on the video.
A: We can’t complain because we didn’t spend that much money on it.
D: It was basically free on a lot of aspects.
S: We had a person who helped us produce this video and her name is Sandra Dawson.
Will you be releasing it anywhere?P: It might be out on Maclean-Hunter. MuchMusic might show it once for some Toronto or whatever it is called. City limits perhaps.
S: If we do our record show which we are planning we will show the video.
P: We will haul a TV down and show it at our record release party.
This one is for Scott. I read in a Montreal zine once that you dropped your pants in front of a crowd. What made you do this?
A: He has done it twice.
S: I’ve done it twice in Montreal.
P: Only in Montreal.
S: the second time was sort of unoriginal. It was silly, but the first time I was inspired by an incident that happened the previous night. I was at the Quoc Te watching a band and a girl proceeded to get up and start taking off her clothes. And I thought that if the person does that on there own free will it is a cool thing because nobody does that kind of stuff because the human body is considered taboo and people shouldn’t be naked. So I thought it was really cool that she was doing this, but I sort of realized afterwards that it was a joke. It was a birthday party thing. It was this guy’s birthday and they had paid this person money to take off her clothes and she was doing it on her own free will at first. And so the next night we were playing Montreal and it kind of fits in with the lyrics of NO MIND. It goes “I’ll take off my uniform” like I’ll strip myself of all that I’m wearing and stuff like that. So I took off my pants because that was the idea. To take off my uniform. So I had the pants down and certain members were embarrassed by it and certain members thought it was funny. I never expected that kind of reaction from people just by taking off my pants. I mean I wasn’t showing any of my body just my legs and my thighs from here to there and people get embarrassed about that kind of thing. Tell me why. If you can’t do these kind of things without getting these uptight feeling that’s bad. I don’t do it all the time though (lots of laughter).
Has anyone made this suggestion to you guys of renaming the band the Dave Walsh Project?
D: Oh fuck. That’s really silly.
P: Only Morgan Gerrard.
S: No one has and I wouldn’t have much respect for that person.
D: I wouldn’t go along with a suggestion like that at all.
S: This is a band. Dave’s not the only member to this band.
A: He is louder than anyone else, but that doesn’t matter.
D: But I don’t realize it because I can’t hear myself.
P: he is deaf. So are we. Three years ago I came in here with great hearing.
S: When Dave does his solo acoustic stuff I think that would be a good name for him (more laughter).
D: Yeah right.
P: Don’t worry it is coming Dave. It’ll happen for you.
D: I better take some lessons first. Or I’ll hire people to play it for me and just put my name on it. I mean if we are going to be this bogus, why not.
P: Produce it.
D: Yeah I’ll produce it.
P: Do all engineer work and get Simon to play all guitar parts for you.
D: Sure as long as there aren’t any mic stands around.
I’ve never seen Dave in his Fred Flintstone costume, but I have heard so much about it.
D: That costume is great. My mom helped me make it. We got this orange material and we cut out a fringy bottom. We took it out to the garage and painted black dots on it. She put a collar on it and I have a tie and everything. Then I would get my hair all puffy and go around the house yelling the way I normally do.
A: (In fits of laughter) But what about the time when you had the make up on?
D: Oh yeah that’s right. A friend of mine put the blue thing around my mouth and made my eyes really white and stuff. I just drank a lot and everyone thought “yeah that’s Fred Flintsone”. I lost the costume because if I still had it, I would wear it.
I was going to ask you if you had ever considered wearing it on stage?
D: If it ever turns up you’ll see me in the street with it on.
Can you list off some of the things that NO MIND has been released on?
P: A compilation tape called “A Peace of Mind” from Colorado, “For No Apparent Reason” off of X Records, “northern assault” compilation tape from Hamilton, and our own tape.
Everybody: “Punkusraucousrex”.
A: And in one month we will have ….
S: “Takes of Ordinary Madness”. Yes that’s right folks, the album.
P: We are supposed to do some other compilation tapes.
S: there is a tape compilation of an international sort, but we have sent the person the tape and I have not heard back from this person.
Where can people get a copy of your demo tape?
S: People can get “Punkusraucousrex” at all Vortexes, that is Queen Street or Dundas street, and Driftwood and Records on Wheels on Yonge Street. Oh yeah and the Bop Shop on Queen Street West. Anyone out of town can enclose six dollars in care of Scott Tremaine to Box 5303, Station A, Toronto, ON, M5W 1N6 (Ed Note: This address is no longer valid).
If you were going to add another member to the band who would it be?
D: Ohh. Inglie Melstein.
And if you were going to kick someone out who would it be?
D: Inglie Melstein.
S: No on in particular. We don’t just sort of go and kick anybody out.
What do you look for in a roadie?
D: we would like to look for one.
S: Faithfulness. He has got to be there when it counts. When we break the strings, when I want water, he has got to be there.
P: What to look for in a roadie is someone who is ….
A: …a total fucking slave.
P: Someone who knows enough about how to set up a stage and tune guitar strings.
D: And has big muscles so that he can make people pay.
S: And do quick easy repairs for electrical work.
D: yeah on live wiring.
P: And that we can get along with.
What do you think of free trade?
S: I don’t think free trade ever existed or ever will.
A: I think that if the pact that has been signed is passed by the Canadian and American governments, we are basically selling ourselves out. Unfortunately we are kind of damned if we do and damned if we don’t. Fucked both ways.
S: Free trade for one thing would not mean free trade for bands like us. I still think that we would have to go through the bullshit going across the border with our records and all that kind of stuff. It wouldn’t be free trade for us. American corporations are already in Canada. How much freer does it get for them? Like they don’t have to pay taxes anymore or what. I’m not totally up on this subject, but I don’t expect it to be free trade for the average person like you or me.
A: It’s kind of a non issue in a lot of ways.
S: The Americans can get very euphemistic about their economic policies, but they are really disguised as to their real intentions.
D: It can become a pretty confusing issue too. You hear all these things from people screaming on television ranting and raving about it. I once saw something on Buffalo news and they were asking people in Buffalo about free trade. Not one person that they had asked had heard about it. What does it mean if no one has heard about it?
S: It’s not an issue whereby the Canadian people are writing to their members of parliament stating that they want free trade. It’s not a thing that the Canadian people are wanting so dearly that we should be doing it. Who really wants the free trade?
Perhaps we have the most to loose?
S: I think so. I think America is only as wealthy as it is because it sort of extracts wealth from other people.
A: It is kind of like tying yourself to a sinking ship as well. The way the American society is running now it doesn’t have all that much longer to live. The Koreans and the Japanese are just going to sink it, the way they are going right now.
S: Any country that makes enough nuclear weapons to destroy the world forty times, why would you want to have economic ties with such a country? Because you want to see the end of the human race.
If you could incorporate any sport into the Olympics what would it be?
A: Ice cricket.
D: Hurling.
A: Australian No Rules football.
D: Or good old rugby in the snow. Make it a winter Olympics sport and play it on ice.
A: Underwater volleyball.
D: I think they should get rid of figure skating. It just drives me nuts. Archery is more exciting than figure skating (laughter).
A: I like the louge and bobsledding is pretty cool.
S: The biathlon. The ones where they have to cross country sky and shoot targets is really good. It’s not the kind of thing that North Americans have to do or anything. It is quite a Scandinavian thing, but I think it is a good test of your abilities to run and to shoot.

Thursday, August 11, 1988

Flyer - Thursday August 11, 1988

Brute Creation play at a roller rink in Burlington with some locals that look like metal bands.

Tuesday, August 2, 1988

Flyer - Tuesday August 2, 1988

Friday, July 29, 1988

Tuesday, July 26, 1988

Saturday, July 23, 1988

Tuesday, July 5, 1988

Saturday, July 2, 1988

Various Artists " Ontario: Yours to Discover" cassette

Side A
1. NOMIND – Strontium Dog
2. NOMIND – Intro to Big Bad Bugs
3. NOMIND – Big Bad Bugs
4. B.S.L. – Human Prey
5. B.S.L. – Subject to Change
6. B.S.L. – Pumpin' Gas
9. VISIBLE MINORITY – Doing What Comes Naturally
10. VISIBLE MINORITY – Doing What Comes Naturally continued
11. DEATH OF GODS – Do Wah / Reflections
12. DEATH OF GODS – Forced Beliefs
13. M.S.I. – Our Fight
14. M.S.I. – Infection
15. M.S.I. – You
16. MISSING LINK – Cutting Edge
17. MISSING LINK – Barba Death
18. MISSING LINK – Man to Man
19. BLACK DONNELLYS – Poor People of Poland
20. BLACK DONNELLYS – Challenger
21. GODCORP. - Trail by Fire
22. SONS OF ISHMAEL – Ohio (Live)
23. SONS OF ISHMAEL – Intro to Man and His Penis Sceptre (Live)
24. SONS OF ISHMAEL – Man and His Penis Sceptre (Live)
25. SUBVERSION – Violence is Violence
26. SON OF HAPPY – Sweaty Ears (cuts off)
Side B
2. SOCIAL SUICIDE – Local Yoko
3. SOCIAL SUICIDE – Sportshunstmen
4. NUNFUCKERS – Burning Chemicals
5. NUNFUCKERS – Spoiled Brats
6. NUNFUCKERS – Ziffco Punx
7. HYPE – Scum Tongue
8. HYPE – Insecurity
9. NEGATIVE GAIN – Live or Die
10. NEGATIVE GAIN – What’s the Reason
12. PROBLEM CHILDREN – Breakfast of Champions
13. PORCELAIN FOREHEAD – The Gameshow Riff
16. HONEST INJUN – Say It Now
17. HONEST INJUN – Wasteline
18. FLAG OF TRUCE – What Does It Take
19. THE TRAPT – Fool on the Hill
20. THE TRAPT – Someday’s Punk Rock Sucks
21. HAKENKREUZ – Jack Palance is the Anti-Christ
22. GUILT PARADE – Jesus Janitor
23. GUILT PARADE – Frustrated Americunts
24. GUILT PARADE – Religion in American Life

Thursday, June 30, 1988

Sunday, June 26, 1988

Photos: Godcorp

Friday, June 24, 1988

Flyer - Friday June 24, 1988

Missing Link and Brute Creation do a show at the Slither Club.

Monday, June 20, 1988

Zine - Photo Drome #2

 This is a photozine compiled by Rita Laberto. When Photo Drome came out it reminded me of “Welcome to Cruise Country” which was a photo zine that MRR did at the time. The theme of “Cruise Country” was to capture photos of the European bands. There was lots of attention on the North American bands, but MRR wanted to demonstrate the greatness of activity in other countries. Most photozines were limited to their local scene. That was what was easiest for photographers. Shoot pictures of local bands and the bands that came through town. This was the second issue for Photo Drome and I think Rita had made contacts from the first issue with photographers from around the world. Issue 2 got to incorporate photos from some scenes in Europe.  So although there were pictures of bands from Toronto which included D.O.G., M.S.I., BSL, the Nunfuckers, and Missing Link there were photos of bands that had played in Toronto like Life Sentence from Chicago, Hyper as Hell from Ohio, Pillsbury Hardcore from Pomona, SNFU from Edmonton. There were also international bands in this zine. Larm from Holland, Indigesti from Italy, the Skeezicks from Germany, Heresy from England. The list goes on and it is an impressive one. It was impressive to us back then because these were bands we had only read about. Photo Drome  was a window to the international hardcore scene. Photo Drome made us feel like we had something special in our scene. The zine was professionally printed with colour on the cover which was rare back then for underground zines. And Photo Drome was bound so pages didn’t come apart from the staples not holding. It was just an all round awesome hardcore scrapbook. Click on the cover above to witness the late 80’s hardcore scene in Toronto, the bands that passed through and the bands that inspired us. Here is a list of the bands photographed:

- Alternative Inuits
- Life Sentence
- Youth of Today
- Straight Ahead
- Capitalist Alienation
- Scream
- Indigesti
- Negazione
- Cheetah Chrome Motherfuckers
- Stinky Rats
- Wolf Pack
- New Balance
- Confront
- Pillsbury Hardcore
- Kina
- Larm
- Dead Brain Cells
- Missing Link
- D.O.G.
- Raw Power
- Hyper as Hell
- Nunfuckers
- The Ramones
- Heresy
- False Hope
- Bad Brains
- Guilt Parade
- Circus Lupus
- Skeezicks
- G.I.
- Accused
- Outface
- Dead Milkman
- Agnostic Front
- Crach Box
- P.E.D.
- Half Off
- B.S.L.
- Henry Rollins Band
- the Doughboys