page 10 March 14, 1986
Es eo

 

:
. S

UH-OH,

Anyone with a cultural bone in
their body would and should have
enjoyed a Saturday evening with
Bruce Cockburn. Bruce’s benefit
concert for the Haida Indian Nation
was born of a great purpose.

| enjoyed hearing shouts from the
audience giving thanks for a second
show on the bill, and knowing that not
only were we there for our own
entertainment, but our time and
money had_gone to help strengthen a
troubled group from greed, selfish-
ness, and profiteering. Bruce did end
up writing a song for the occasion
appropriately titled ‘Stolen Land.’’

Robert Davidson did a painting and
offered it to Bruce during the concert,
in gratitude for acknowledging this
problem and giving his support. He
explained to those of us that are

   

like sound played through a giant

Salmon swimming toward each other
on their way to spawn are a sign of
Love and togetherness. ‘‘Something
we people should not forget.’’
Because isn’t that what life is all
about?

So for those Bruce Cockburn fans
that haven’t seen him yet, I’m certain
you would have appreciated the true
professionalism each and_ every
musician showed.

This band never ceases to amaze
me with their multi-talents and
instrumental innovations. There were
instruments I’ve never even heard of
before, but | still get that wonderful
rush up the spine when | hear that
electric violin. and I’m lost when
‘“‘techno’’ rock is mentioned after
experiencing acoustic guitars, Flying
V’s, a dulcimer, ‘‘the stick’, a loon

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seashell, and of course the super
energy of the percussionist with wind
chimes, bongos, maracas, right on

   

     

RETURN OF

Yes, in order to enjoy a concert
such as this, one needs a true
appreciation of musicianship, endur-
ance, hard work, and creativity. Long
live original instruments that are
played through hand and heart not a
previously rigged machine.

One unfortunate point | do want to
make was the lack of warmth Bruce’s
concerts usually radiate. | don’t know
if it was the fact that it was the late
show or that there was a serious
message to be put across. But | do
hope that he will get back to telling us
of the experiences that lead him to
write these songs with the human
contact that through previous concerts
made me want to come back for more.

Let’s not stop ‘Making Contact.’’

by Chris McGuiness

“Cover supplied by Doug Finnerty
RUSSIAN bv STING

Graphic/ The McGill Dail

Todd Wong photo ~ Capilano Courier

Bruce Cocxburn and the Younge St. Band packed two shows at the Q.E., stunning the
audience with his impressive guitar work. “Who's the double?”

and the Fish? Peter, Paul and Mary?
Protest music? No, | don’t mean The
Clash. | mean hippie-folkie-acoustic-
guitar-protest music. It used to be
real big in the sixties. Anybody
remember the sixties? The Talking
Freds do. The Talking Freds are John

lack of Douglas College and Co-op
Radio fame and Jim Sands, who also
works at Co-op Radio.

The Freds are keeping the coffee-
house-folk-protest-music tradition a-
live. They are political satirists for the

by LORI

eighties. They use (you guessed it)

Talking Heads’ songs and change the
lyrics to fit their message. Burning
Down the House becomes Burning
Down the Fair (Expo), Heaven be-
comes Surrey...a place where nothing
—absolutely zero—nothing ever hap-
pens. Between songs, the Freds make

Surrey, Socred, N.D.P. and Reagan §

jokes, in other words,. nobody is
spared. And with politics the way they
are, the Talking Freds won’t have to
worry about finding things to sing
about.

DONALD

What makes this song more mean-
ingful is the video. As always the
track is done in black and white—
TYPICAL Sting video—but this video
is not another excuse for Sting to
show us his mug.

The story goes something like
this...there’s this home for elderly
gentlemen, and there’s this large dark
scary room. with massive portrait
pictures of this young boy on the far
wall. All the old men are trying very
hard to reach out for the picture of the
boy. It seems to be a symbol of
shame: these old men are ashamed of
what ‘type of wicked mean world
they've left for the young.

While this is going on, there’s
another scene of a gymnast who’s
doing a ribbon dance. (Reminds me of
the Russian/East European gym-
nasts).

The camera work is brilliant and
there are no fancy special effects, but
the video captures a dark sad mood—
very shameful—very sad.

by PHINDER DULAI

 

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