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Discorder CITR-FM (Radio station : Vancouver, B.C.) Feb 1, 1983

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 Di^cORDeR
¥A guide to CITR fm 102
<? CABLE 100
VOL. 1 NO. 1
February 1983
^
-.-■:,' ■%,
•Interview —
Wall of Voodoo
•Latest From Siouxsie,
DOA, Mission of Burma
•Youth Culture in
West Berlin
1
mt dFcordeR
FA guide to CITR fm 102
*^ pari p tnn
Mil of us at Point Grey's finest radio station are pleased to present Discorder. Caution though!
Discorder is not meant to be taken on its own. Chances are, that if this mag is read in its entirety by a
non-listener, terrible things might happen; bewilderment, nausea, or even death. For this reason we
advise that Discorder be cut with 100% pure CITR. One part Discorder to nine parts CITR. Simple.
Remember though, don't get carried away with Discorder. Its purpose is not to curb your aural
fixation, but to enhance it.
So what is Discorder? Why does a radio station put out a program guide? Essentially, to improve
communication, and isn't that what radio is all about? By improving communication everyone
benefits. Publishing this guide means that you'll be able to read about the music that CITR playlists
and to find out when CITR broadcasts its various features. At the same time Discorder gives us (the
people behind the dials) a chance to hear from you. Something on your mind? Write to the Airhead. He
wants to hear form you. Hopefully Discorder will reflect not only what happens at Vancouver's
alternative music station, but what happens in the city itself so far as music, entertainment, and
innovation are concerned.
Now that you know what Discorder is, I'll tell you a few things about CITR. CITR is UBC's student
radio station which broadcasts from the Point Grey campus. Because the station is licenced as a low
power operation, some parts of the city get better reception than others. If you can't get us at precisely
101.9 FM, even with an antenna, you're in a sound warp and will have to plug into your cablevision
outlet and tune to 100.1 FM. (Call CITR or the cable company for details).
CITR is a non-profit, non-commercial station. Money comes from two sources: directly from
student's pockets via Alma Mater Society fees, and from off-air activities undertaken by the station.
These things include playing music in UBC's Pit and hiring out our mobile sound service. The station
is run by about 100 volunteers (with one full-time, paid employee) who are mostly UBC students.
Membership is open to everyone: students and non-students. Your support and help is always
needed, so if you are interested, why not drop by?
Being a non-commercial station CITR is free to explore the vast realm of today's music which is
located just beyond the sight (or should I say "sound") of most other music stations. Our Playlist is not
generated by a computer from somewhere "back east" or "down south". We are not afraid of playing
music or airing spoken word material that transcends what commercial programmers view as the
"proper norm". CITR has been an alternative music station since the mid-seventies and we knowthat
there are no "proper norms" for music or anything else. We also know that a large segment of the city's
population is sick of listening to the same old tried-and-true sounds of commercial radio. You now
know that an alternative exists. As one longtime CITR deejay recently remarked "We have no target
market, we have nothing to sell. Our market is anyone who wants to listen." Nuff said.
If all goes well, Discorder will be your monthly guide to CITR. It will continue to be free and will be
available at some of Vancouver's finest locations. Wasn't the place you got this one nice? Till March
1st then, keep listening. CITR is designed to satisfy you aurally.
-Michael Mines
Interview - stan ridgeway of wall of voodoo
I he Luv-a-fair was
packed to the rafters the night
of Wednesday, December 29,
1982, and justifiably so. The
band playing that night was
Wall of Voodoo, in town for
their second only Vancouver
performance. By now you've
probably read a thousand
reviews of both their new album
Call of the West and their
performance so I'll get on with
it.
That afternoon I was meant to
interview the band in their hotel
room at the Holiday Inn
Harbourside but thanks to
some wonderfully competent
person at the border (we'll leave
it at that) they didn't get into
town until about 6 pm.. So down
to the Luv-a-fair I went and after
their soundcheck (chalk up
another half an hour) I
managed to get a hold of Stan
Ridgeway (lead singer) and Bill
Nolan (recently added
synthesist). None of us
particularly felt like talking
about music at this point so we
covered some topics that, as
Stan says, are really the
inspiration for a lot of their
songs.
Discorder — Can you tell me
more about the soundtrack
co. you and guitarist Marc
Morland began and how it
evolved into "Wall of
Voodoo."
S.R. — The soundtrack co.
started in 1977. It was called
"Acme Soundtracks." We
eventually changed the
name to Wall of Voodoo
after   a   studio   experiment
where I was mixing down
some music and we were
trying to make it sound like
Phil Spector, like a "Wall of
Sound". Marc walked up to
me and said "Hey! This isn't a
wall of sound anymore. This
sounds pretty creepy!" So I
said, "Well, it must be like....
uh....a wall of voodoo!" And
it was a dark and stormy
night and it started to rain
and the ghost of Christmas
past came out of the closet
and we decided to name the
band that. So we went right
back to the office and took
down the "Acme Soundtracks" sign and put up "Wall
of Voodoo". We then started
soliciting things around
town and, basically, all we
did was sit up there and
make a lot of music that
nobody wanted to hear at the
time. It wasn't really extraordinary. It was just kind of...
uh...cheap!
Discorder — Cheap?
S.R. — Cheap.
Discorder — Apparently some
music you did for the tourist
board of Canada was
rejected because it was
unsuitable. What happened
there?
S.R
Well, yeah. It was just....
uh....cheap. Actually I still
have the rejection letter on
my wall. There were some
people next door to us that
knew some people from the
Canadian tourist board and
they were looking for a
soundtrack. We didn't know
what the film really was or
anything so we submitted
our music and low and
behold it was accepted so
they just took our demo tape,
which I'd spliced together
over the weekend, which had
about 10 minutes of specific
music that I thought would
go for some sort of pastoral
setting of Canada. The rest
of it was Marc's experiments
with voices running
backwards at Santa Anita
racetrack and the sounds of
Grandma's head getting cut
off and put in a hatbox in the
closet or something.
Basically, things we were
using for other movies. Two
weeks later they called us
down to a screening and we
sat there and watched it.
Those particular sounds on
the tape accompanied by
bears running through
tundra and geese flying
south looked pretty
ridiculous but no one said a
thing, no reaction whatsoever. The lights went on,
they shook our hands, said
"thanks very much" and they
handed us a cheque so we
said "Gosh, Fine" and wegot
out of there as fast as we
could. The next week we got
a letter saying that the music
had been deemed "inapplicable for film content" and
was being returned. We
never actually got the music
back and we never found out
what happened to the film
after that.
Discorder — What's with the
little dog statue that appears
on the covers of the bands
two E.P.'s?
S.R. — The dog was the voodoo
object. I knew that for the
first E.P., on Index records, I
needed to find some sort of
voodoo object so I went
down Alverro St. in LA.
where you can get all these
Mexican made statues and
things. I bought a little baby,
a clay thing, a raven, a dog, a
serpent, and a puma and I
took them all home and
stared at them for a couple of
days and the dog worked its
way out of the crowd.
It just seemed like the
right thing to do. You know I
just broke the dog over
Xmas. My wife, Agnes, was
having a fit trying to find her
glasses one day. I had
always kept the dog on top of
this stereo speaker and she
just sort of zipped around
the corner and the dog
started teetering on the
edge there and fell and broke
into a million pieces. I think it
was just that time. It had
been through so many
things. It's just that I'd
always envisioned it falling
out of the back of a
hatchback on the freeway or
something and splattering
that way. It was such an
undignified way for it to go. It
was a nice dog.
Discorder — Jeez...poor thing.
S.R. — It's the voodoo object.
It still lives. I mean it was
betterthan an umbrella...ora
shoe.
Discorder — Tell me of the
"Amazing Sea Monkeys."
S.R. — Well I've only got one
case left and it just sits in my
room, waiting. Someday I'm
just gonna throw it in a
swimming pool and see what
happens. Yeah...we were
into that for a while. We were
able to make money from all
these mail order sea
monkeys which we advertised in popular Mechanics
and D.C. comics, which
costs a mint by the way. I
mean everybody wants to
sell sea monkeys. We sold
'em for a while but we had to
go out of business because
we ran out of stamps.
Actually, we quit on a tip
from a mail order friend of
ours. He said eight foot giant
balloons were going to take
off!
Discorder — Uh-Huh. Did anyone every tell you that you
bear a striking resemblance
to Johnny Cash?
S.R.— No. Never Johnny Cash.
June Carter, but never
Johnny Cash.
Discorder — What about your
love of country music?
S.R. — Well, I like Merle Haggard, old Marty Robbins. I'm
talking real country music
here, not 101 strings meet
the rhinestone cowboy, not
pop country and western.
Country music has, I guess,
a kind of honesty that other
kinds of music don't have. It
tells a story and I like stories.
It's the singer's music, too.
I've always thought that
there's always another
sunset to ride into.
-Mark Mushet February, 1983 DISCORDER
ClnnR-DiSfcORPER
fmioa
A product of CITR, UBC Radio
Editors:
Jennifer Fahrni
Michael Mines
Layout
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Michael Mines
Printing
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Contributors:
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Dave McDonagh
Michael Mines
Mark Mushet
Sonia Musko
Dean Pelkey
Steve Robertson
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If you hear it
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837 Granville St.        Phone 687-8207
letters
to the
airhead
c/o CITR Radio
6138 S.U.B. Blvd.
Vancouver, B.C.
V6T 2A5
For the past four months I've
been listening to CITR for
about 80% of my F.M. time, and
I really havecometoappreciate
the station as an alternative to
commercially-crass radio. Not
only is CITR the first good
"progressive" station since
'LG's first three years, it is better
musically than 'LG ever was
Congratulations for doing your
job so well.
Last night the station played
an hour of Jonathan Richman
and the Modern Lovers.
This hour was a real treat for
me because I just recently
discovered how interesting this
artist is, and haven't been able
to find records anywhere. The
disc jockey mentioned,
however, that there were
complaints about this hour.
Obviously, an hour of anyone
will offend some people and
there will be complaints.
Perhaps an hour was too much.
But, I hope that those of you
at CITR remember that taking
chances is the essential
ingredient in good radio. More
power to the disc jockey, and
may her next mistake prove half
—Don Freeman
"Thank you, Don, but I didn't
consider it a mistake at all — if I
didn't think Jonathan Rich-
man's music worth an hour of
my listener's time, I wouldn't
have played it."
—Fiona MacKay
LOVE
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4483 West 10th Ave.
Vancouver, B.C.
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Open:
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Closed Sundays
Phone: (604)224-1417
Dear Airhead,
Wonderful to hear you're
going to print. As a listener of
three years I've often found my
enthusiasm for CITR mixed
with theoverwhelming desire to
tear a strip of flesh of all your
DJs. Phone calls are ok.,
having a nice immediate impact
(especially when you hang up
after rattling off a string of
invective that would make a drill
sergeant blush) but nothing has
the lasting quality of print. This
is, then the first of many ranting
bitches you will receive from
me over the next few months.
I've had my complaints over
the years; my latest is CITR's
overwhelming preoccupation
with that nastiest of Black
American musics: FUNK. Now
don't get me wrong. It's not funk
per se that I object to. I'm sure
there is some validity to it. But it
seems some of your DJs get
just a tad overzealous and
string funk after funk song. Ever
noticed how 45 minutes of funk
sounds like two kangaroos
fucking? Now, I realize that as
an alternative radio station
CITR must stay abreast of the
times. And I realize that all
those creepy Brits (let's - get -
our - hair - done - dress - up -
head - out-to-the-clubs-and
- pretend - we're - poor - black -
and - American) who write for
the gnu music excess are going
ga-ga (this week) about the
comic - book - isn't - life - in - the
- bronx - tough - and - don't -
you - dig - my - than babblings
of Grandmaster Trash and the
Flacid Five and all their pooty
Brit imitators. But kids, this is
Vancouver, not the U.K. we
don't change our socks. Perspective, children perspective.
It matters.
Looking forward to CITR
black bubble gum, disco rollers
skates, etc.
There we go, my bitch forthis
month. I'll be listening faithfully
(as always) to pull together
another bitch.
See ya next month.
Whew! It's nasty. You do an
airhead proud. I mean...you
speak my language, ya know?
Let's CLASH again soon. By the
way, my sex life is none of your
business!    —Ed.
Music from the underground
broadcast from outer space.
The ones filling the void from
CFMI-CFOX. Very supportive
of all the Vancouver In
dependents. Bringing in bands
that make Bruce Allen's stable
look as silly as it really is. Keep
up the good work because this
city needs as many alternatives
that we can dig up from the
depths of Vancouver's
underground. Good luck onthe
newsletter.
-Struan
Hey Airhead!
Who the hell do you think you
are? I was rather disappointed,
to say the least, with your "10
Most Disposable Records of
1982" which I had the
misfortune of hearing on New
Year's Eve. The DJ had
absolutely nothing positive to
say about these records, indeed
I was appalled at his
disparaging remarks regarding
such honest, hardworking,
delightful artists at Toni Basil
and Martin Fry. What is wrong
with songs like Mickey
anyway? Isn't it cool enough for
you, or is it because songs that
are as good as Mickey put your
so-called alternative music in a
bad light. Maybe it's a bit of
both. Anyway, I don't know
what it is you have against it but
I think you should keep your
snide remarks to yourself.
PS. You play too much punk
and disco.
-Michael Baldwin Bruce
Dr. Vijay says, "Increase the
dosage of Basil and Fry, then
call me in three months. We'll
see if these strange symptoms
disappear.'' "Disposability,"
says Chris Dafoe, "is not
necessarily a bad thing! It's an
essential component of pop
music." And well spoken,
Bruce!
P.S. Long Live Grandmaster
Biafra.
--Ed.
FLOOR
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fc    228-1471 youth culture in
west berlin
We:
/ est Berlin has become the showcase for the
West German youth scene
during recent years. Once a
hub for artists, intellectuals and
political activists, it has arisen
from the ashes of the last
European war in order to claim
a new status.
Today West Berlin reflects
the discontent as well as the
aspirations of a youth subculture intent on leading its
own lifestyle. Squatting, a lively
artistic scene and the binding
element of social and political
action are a few of the many
aspects of this vibrant new
youth movement.
During the 1970's, West
Berlin became a refuge for a
youth disillusioned with the
materialistic and politically
stagnant atmosphere of West
Germany. As a result, punks,
rockers, artists and political
activities of every colour and
creed have migrated to the
already over-populated city.
With this sudden flood of
newcomers, including both the
West German youth and the
Turkish immigrants seeking
employment, the city is today
stretched to its limit. This is
evident in view of the city's
acute housing shortage — one
that is often the result of a lack
of space, zealous property
speculators and the local
government's inept housing
projects.
This crisis signalled the
advent of the squatter
movement, which emerged due
to the desperate housing
situation and today serves as
the visible constructive link for
a youth opposed to the greedy
claims of speculators.
Moving in large numbers into
the rundown, heavily ethnic
populated areas of Kreuzberg
and Schoeneberg, squatters
quickly occupied and took
possession of abandoned
tenements owned by speculators.
Many of these buildings
stand empty waiting to be sold.
Motivated by the housing
shortage and the government's
lack of concern, many youths
have taken to illegally
occupying these buildings as a
form of social and political
action and, moreover, to find a
place to live.
The       squatter move
ment has brought a community
of people sharing common
interests into dynamic motion.
Everywhere one can find
squatter-run bars, businesses
and clubs. In its own way, the
flourishing squatter businesses have probably strengthened
the city's economic status more
than many of the city officials
would like to admit.
At Luna Park, an entertainment warehouse run by
squatter interests, an eclectic
mix of film, dance and various
forms of performance art are
presented regularly. These
modes of entertainment may or
may not be directly connected
with the squatter movement,
but they certainly mark an
emergence of artistic vitality
not witnessed since the wild
and lustful cabaret days of the
1920's.
In the music scene numerous
clubs and concert halls host a
variety of aural and visual
enterprises. Kant-Kino, SQ-36,
Metropole and Stonz are but a
few of the venues which
support the new music, the new
art, and a new cultural consciousness.
West Berlin is also graced
with a lively bar and clubcircuit
"Berlin" cont'd pg. 7
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2936 W. 4th Ave February, 1983 DISCORDER
views on vinyl
The Scissors - Scissors
(Zuma Records, ZU-001)
Los Popularos - Born Free
(Los Radicos Popularos
Records, GP101)
Modernettes - View From
The Bottom
(Vox Desperatum Records,
VDR 1301)
Three local pop bands, three
distinct sounds, all vying for
your entertainment dollar. First
of all it is good to see local
releases taking the form of
something a little more
concrete than cassettes or
demo tapes sent around. The
Vancouver music scene is in a
relatively healthy state again,
with a lot more gigs in the last
half year, and the release of
several long awaited records.
After what seems like years of
playing in the Smiling Buddha,
The Scissors have released a
six song, self titled EP,
recorded in their own Profile
Studios. Of the three records
reviewed here, this is the
slickest sounding and most
produced, but....
"What do you think of this
painting?"
"Uh, nice frame...."
"Well, what do you think of
the new Scissors EP?"
"Nice production."
Actually, the tunes are all
fairly upbeat, light ditties that
go in one ear but soon leave
through the other. One of the
songs, Nadine has an
immediately catchy hook, and
Don't Call Me Chick sat in the
CITR singles chart over the
summer as a demo tape. The
songwriting itself is fairly
average garage oriented rock
— there is little here that has
not been done before (and
better) elsewhere. Lead singer
Bill Barker's rasping, high-
pitched vocals get to be a bit
much over a period of six
songs. Billy himself summed
things up nicely at the Youth
Explosion concert when he
brought his guitar out onstage
in a garbage can.
"Los Pops" cont'd pg. 6
Siouxsie And The Banshees -
A Kiss In The Dreamhouse
(Polydor UK 2353 648)
I've always wondered
whether Siouxsie Sioux went
through her daily routine of life
with a Felliniesque soundtrack
humming away in the back of
her mind. Pouring out a cup of
tea to a slight hint of Green
Fingers, doing her jazzercise to
Obsession or hopping onto the
tube to the strains of Circle. A
curious thought to be sure, but
somehow not out of place with
Siouxsie and the Banshees, for
they deal with very curious
matters and seem to do so with
such a natural and distinctive
flair.
On this, the fifth album by
Siouxsie and the Banshees
third album with the lineup of
Budgie, McGeoch, Severin and
Sioux they continue their
fascination with situations
related to the darker, hidden
side of the human psyche.
"Siouxsie" Cont'd pg. 5
page 4
DOA - WAR On 45
(Alternative Tentacles
Fringe Records, FPE 3006)
Once again DOA has
surfaced from the underground to strike fear into the
hearts of the upper and middle
class. This time their weapon is
an eight song e.p. entitled War
on 45 and the band makes no
secret of its intentions, boldly
proclaiming on the cover
"March into the 80's" and
threatening to drag everyone
with them.
This is by far the most
cohesive piece of vinyl that
DOA has produced in years and
much of the credit must go to
Thorn Wilson for the production. The guitars ring, the
drums pound, and best of all,
you can hear and understand
Joey's vocals (sure he still
sounds like be regularly gargles
with Drain-0 but this is the kind
of voice that Ronald Reagan
has nightmares about).
The basic theme appears to
be a take off of the Stars on 45
series with the eight songs here
all dealing with war in some
manner. The standout track has
to be the cover of War which
should be mandatorily play-
listed on all radio stations and
nightclubs. The guitars bristle
with energy while Joey screams
the question, "Who wants to
die?!" Other songs include
America the Beautiful ("I've got
my bible, I've got my handgun,
I'm ready.") and War in the East
which gives Dimwit a chance to
try something different on
drums.
It appears that when Wimpy
and Dimwit joined Joey
Shithead and David Gregg that
DOA made a tremendous leap
musically and this E.P. is
evidence of that. Its power and
energy remind me of the Pistols
and early Clash albums. As the
band states on the back cover,
"talk minus action equals
nothing" and they back it up
with this e.p. After listening to it,
I for one, am willing to join their
march.
--Dean Pelkey
Wall of Voodoo - Call Of The
West
(IRS U.S. SP-70026)
I magine that you are on a
dusty country road somewhere
in the southwest of the U.S. a
region often called "the
dustbowl". You are humming a
tune that sounds something
like the theme from that classic
spaghetti western, The Good,
the Bad, and the Ugly, and the
familiar sights are a parched
terrain, a pale blue sky, and
tumbleweeds blowing along in
the wind. Unlike the characters
in the movie, however, the
people you see are not
hombres, gringos, or the
legendary gunslingers who
populated the old West, but
rather, people who are often
overwhelmed and even
swallowed up by the sheer
desolate vastness of the land
around them; people who have
jobs and cars and maybe RV's
an CB radios, but don't find
these comforts to be quite
enough.
Wall of Voodoo's Call of the
West, their third release
(including their 1980 EP), is a
remarkable album by a band
that deserves infinitely more
notice than they have received
to date. This is the first one to be
released with major distribution
in North America, and it should
get them noticed, because it is
probably one of the most
comprehensive, poignant
"theme" albums to come out in
sometime.
"Voodoo" cont'd pg. 6	
Mission of Burma - VS
(Ace of Hearts) U.S. AHS 10010
I now have two reasons to
want to visit Boston, Mass. One,
to see a Celtic game and two, to
try and see Mission of Burma in
their natural habitat. Mission of
Burma first came to my
attention when a rather
unassuming looking E.P.
Signals, Calls and Marches surfaced in 1981 on the
independent Ace of Hearts
label. It was love at first listen.
Here was a band with a
blistering drive and raw
intensity that grabbed you from
the first listen. Add to this
smarts and a sense of purpose
to the lyrics on songs such as
Fame and Fortune and That's
When I Reach For My Revolver
and one has a rare combination
indeed, something much more
than usual ear candy.
VS. is that album and is a
worthy followup to their 1981
E.P. not as immediately striking
as Signals, Calls and Marches,
Vs. comes into its own with
repeated listenings. Mission of
Burma, unlike most bands on a
debut album appear to regard it
as a chance to stretch themselves out and introduce new
elements into the mix. There is
a healthy sense of experimentation on VS which allows one
to continually pick up fresh
ideas.
Hats off to producer Richard
W. Harte who captures the fire
of Mission of Burma on vinyl.
His production gives them a
harsh edge as they move along
at a mostly frantic pace but
never lets them fall into sloppy
disarray. It is produced as a
band of this nature should be,
very close to what I imagine
they sound like live.
All in all, VS. is a strong debut
album from one of the more
distinctive bands to emerge in
the States in recent years. It
presents a band who prefer to
stay close to the edge and try
different ideas throughout the
course of an album. It is a
deceptive album in that time
and repeated listenings do not
diminish its impact but
constantly heighten the appeal
of the album. I've no doubt that
VS. will continue to do so and
that Mission of Burma will keep
putting out music of intensity
and depth. I wonder if the
Celtics are playing soon
Perhaps it's time to take a trip.
-Dave McDonagh
Egghead     Compilation Tape
(Independent)
Description Do I Come is the
first song on this tape and it
poses an interesting question
about the rest of the material —
under which description does it
come? First, there is a wide
variety in the 12 tunes on this
tape. There are light rock, loose
fusion, electronic, somewhat
mainstream, funk and expressionists type songs featuring
sexy, mysterious and painful
rhythms. Second, there are no
two songs with the same band
line-up. Finally, the band
appears elsewhere with names
such as Howie and the
Meakers, The Hearsay Blues
Band, Polor, The Dependent
Intellectuals and on and on.
Under which description to
they come?
Anyway, confusion aside,
what is Egghead all about? It
sounds like we are dealing with
Vancouver's answer to Lol
Creme and Kevin Godley. The
range  of songs,  the sarcasm
and the avant garde creativity
seem to back up this
comparison. This creativity
involves a bit of "knob fever"
technically and musical
applications for whatever the
boys (and girl) could find in the
kitchen.
After the first listening you
may want to bulk this tape —
but don't. Listen to it a few more
times. It will grow on you. The
sarcasm will keep you on your
toes and the more mainstream
tunes help you through the
more avant garde ones (which
you may grow to like, really).
The vocals on this tape are
worth mentioning. Annette
Ducharme gives a steamy
performance on both Description do I Come? and Share It
With Me. Joe Naylor growls his
way through many of the songs
and subsequently adds a little
pain to them. Fad Dogs Not Bad
Dogs has Mr. Naylor sounding
like a Cylon warrior.
I was only able to listen tothe
tape three times but it is quite
evident that Egghead is doing
something a little out of the
ordinary. This band is a
welcome relief from the
average Vancouver bands but
for this reason it may not be
able to sell many tapes (which
is a shame). Even Godley and
Creme were thinking 'single'
when they did Consequences.
As long as Egghead keeps
doing the odd "Force Fed" we
may get to see an album from
them. I am hopeful.
Brent Argo.
FINAL VINYL FEATURES
for February
CLASSIC LPS:
4 February - Country Life, Roxy Music
11 February - Taking Tiger Mountain by Strategy, Brian Eno
18 February - Another Music in a Different Kitchen, Buzz cocks
25 February - Radio Activity, Kraftwerk
NEGLECTED LPS:
6 February - Blue Angel, Blue Angel
An unheralded pop quintet from NYC, in the Blondie mould.
Despite strong nooks and melodies, this LP didn't even get a
Canadian release. (1980)
13 February - I've Gotta New Car,
Troyce Key, Jj Malone, and the Rhythm Rockers
R&B Veterans now based in Oakland. This LP is a watershed
of tight, rocking R&B and btues in a timeless, classic style.
On UK Red LightnirV (1976)
20 February - Supersnazz, Flamin' Groovies
A long deleted LP from the harder rocking Roy Loney days.
Overshadowed by Teenage Head and the Merseyish Shake
Some Action, Supernsnazz is a strong blend of covers and
originals. (1970).
27 February - On The Boards, Taste
This LP established the reputation of Rory Gallagher as a
British (in this caset Irish) blues rocker of the first order.
Overshadowed by flashier exponents of the genre, On The
Boards remains a blues rock classic. (1970)
MINI-CONCERTS
for Februrary
Tuesday 1 February: Pere Ubu
Wednesday 2 February: The Searchers
Thursday 3 February: The Mekons
Friday 4 February: New Order
Saturday 5 February: The German Scene
Monday 7 February: Velvet Underground
Tuesday 8 February: X
Wednesday 9 February: The Only Ones
Thursday 10 February; A Certain Ratio
Friday 11 February: Bananaramalama-ding-dong
Saturday 12 February: Toasting with Mike
Monday 14 February: Roxy Music
Tuesday 15 February: Iggy Pop
Wednesday 16 February: Sir Douglas Quintet
Thursday 17 February: The Scars
Friday 18 February: UB 40
Monday 21 February: Jonathan Richman and the Modern Lovers
Tuesday 22 February: Wire
Wednesday 23 February: The Move
Thursday 24 February: Material
Friday 25 February: Bauhaus
Saturday 26 February: Sham 69
Monday 28 February: Peter Gabriel DISCORDER, February
1983                             J
program features
SUNDAY             MONDAY
TUESDAY
WEDNESDAY
THURSDAY
FRIDAY       I
SATURDAY
J
7am
Monday through Friday:
9am
MUSIC
AT UBC:
10am
THE
FOLK
SHOW
A UBC events calendar broadcast four times weekdays at
cE«*endTr
iN^lr       j
OUR TIME
Ham      j
CITYSCAPE:
A  Vancouver  events   calendar  which   is  split  into three
categories:
Noon      <
IruSSh
Movies: 9:35 am, 1:32 pm, 4:59 pm, 7:05 pm
Theatre: 9:55 am, 1:50 pm, 5:20 pm, 7:26 pm
1pm       I
THE
Concerts: 10:15 am, 2:14 pm, 5:44 pm, 7:48 pm
PUBLIC AFFAIRS:
Broadcast weekdays at 10:30 am.
Monday: AMNESTY ACTION - Human rights issue
2pm       i
SHOW       .
3pm   ;
WITHOUT A
around the world.
CITR    .
PLAYLIST
Tuesday: UBC ON TAP - UBC knowledge and information
4pm
Wednesday: SPORTS UNLIMITED - sports on and off
campus.
Thursday: CROSS CURRENTS - consumer and
5 pm       !
Friday: DATELINE INTERNATIONAL - international events.
6pm
MAGAZINE
magTz^ne
Entertainment reviews at 11:30 am and 6:45 pm
7Pm
Monday through Saturday:
8 pm
w
MINI-CONCERTS:
Music and commentary focussing on one band or musician
9 pm
JAZZ
Monday through Sunday:
10pm
FINAL VINYL:
11 pm
VINYL
VINYL
VINYL-
VINYL
VINYL-
VINYL
VINYL-
(It's not really final, it just sounds good). Every day of the
week an album is played in its entirety beginning at 11 pm.
Mid„ighl
j    CJ0ANZZD
Monday: Jazz Album
Tuesday: New Album
Wednesday: New Album
Thursday: Import Album
1am
1
Friday: Classic Album
2am
B       RANDOM
RANDOM
Saturday: CITR Number One Playlist Album
RADIO
Sunday: Neglected Album
3am
Monday:
JAZZ SHOW:
4,m
'                               '                                                               !
Three and a half hours of jazz ranging from traditional to
CITR-FM 102 Cable 100                       t 1 citr-s                                         \
J  OFF          Listener Request Line 228-2487        I I musVc programming
avant garde. 9:30 pm - 1:00 am.
Friday:
"Siouxsie" cont'd from
og. 4
random radio                   r „ rAT mT„ f   the CITR news cliet menu
After hours   radio until at least 4 am. Call CAT-BITS for
Quite  simply the  Banshees
have never sounded better, with
the four parts forming a fluid
requests.
whole. Underneath it all Budgie
Weekday Items
on drums and Steve Severin on
Saturday:
bass create an urgent, swirling
THE FOLK SHOW-                                                                                     8 am WAKEUP REPORT ... news, sports, ski info, and weather
bottom which has both muscle
Folk music from around the world. 10:00 am - 12 noon            9 am BREAFKAST REPORT news, sports and weather
and    motion.    This    allows
1 pm LUNCH REPORT news, sports, and weather
McGeoch the room to excel on
LAUGHING MATTERS:                                                                                 3:30 pm AFTERNOON NEWSBREAK news and weather
guitar with his soaring, spirited
A documentary series on the history of recorded comedy.    4;3o pm AFTERNOON SPORTSBREAK ... .sports, and ski info.
sound slicing through the mix.
1:00 pm - 1:30 pm.                                                                             6 pm DINNER REPORT  news, sports, weather and
On top of this is Siouxsie who
CITR PLAYLIST SHOW:                                                                                    AFTER DINNER PORTION:
sounds as if the imposed rest
Selections from CITR's weekly album and singles playlists    Monday BIRDS EYE VIEW  (recap of weekend's
period for her vocal chords in
are counted down. 3:00 pm - 6 pm.                                                                                                                                           UBC sports)
much of 1982 has had nothing
RANDOM RADIO:                                                                                       Tuesday INSIGHT   (analysis and commentary of issues)
but positive results. She comes
Saturday nights become Sunday mornings. Call CAT-BITS.    Wednesday INSIGHT
across as taking chances and
Wednesday INSIGHT
using the full potential of her
AT UBC:                                                                                                       Thursday BIRDS EYE VIEW  (preview of weekend's UBC
Ivoice    on    tracks    such    as
8:40 am, 12:40 pm, 4 pm, 8:40 pm                                                                                                                                           sports action)
Cascade   where   she   uses   a
Movies: 9:02 am, 1:32 pm, 4:59 pm, 7:05 pm                                                                                                                           news events)
Obsess/on    with    its    sly,
Theatre: 1:50 pm, 5:20 pm, 7:26 pm                                                                                          Weekend Items
insinuating    feel    or    on    the
Concerts: 2:14 pm, 5:44 pm, 7:48 pm
deceptinely    gentle,     hanting
Saturday: 6 pm SATURDAY MAGAZINE  news, sports,
ballad   Melt   where   her  voice
Sunday-                                                                                                                                                             weather, varying focusses of topics
contrasts    sharply    with    the
and other special features.
song's implications.
MUSIC OF OUR TIME'                                                                                  Sunday: 6 pm DOUG RICHARDS MAGAZINE news, sports,
A Kiss In The Dreamhouse is
Expose yourself to modern classical music. 8:30am- 12:15pm                                                              weather, cultural comments and
an album of true merit where
SUNDAY BRUNCH:                                                                                                                                                                           other surprises.
Siouxsie   And   The   Banshees
continue to perfect their craft
while at the same time trying
out new ideas and extending
REGGAE SHOW:
Traditional and dub reggae. 12:45 pm - 3 pm
RABBLE WITHOUT A PAUSE:
ftnYv: C T? v
themselves as they continue to
An alternative to CITR's alternative programming. Listen for
^&U I OOXV1
redefine the limits of "popular'
the "unknown album feature."
music. It reveals a band at the
SUNDAY NIGHT LIVE AT 8:
TlVTT^i^T? i Q
height of their creative powers
Recordings of live concerts. 8 pm - 9 pm
llVlJ: VJv 10
who   are   able   to   deal   with
AT UBC:
9:30 am, 1 pm, 4 pm
•Largest selection of imported
subtleties   and   shadings   that
few    other    bands    would
CITYSCAPE:
records in Western Canada
approach. The Banshees weave
Movies: 1:32 pm, 4:59 pm, 7:05 pm
a mysterious, heady spell on A
Theatre: 1:50 pm, 5:20 pm, 7:26 pm
•Latest new releases
Kiss In  The Dreamhouse one
Concerts: 2:14 pm, 5:44 pm, 7:48 pm
•Our selection includes new wave,
that   intrigues  and  draws the
listener in. Should but a handful
CITR SPORTS PLAY BY PLAY
60's rock, reggae, and punk
of albums be released this year
with as much to offer, 1983 will
Saturday 5 February: BASKETBALL - UBC vs U of Alberta 8:30 pm
•Rock posters & T-Shirts
be a banner year. If not, A Kiss
In The Dreamhouse will more
Friday 11 February:
Friday 11 February: BASKETBALL - UBC vs U of Victoria 8:30 pm
866 Granville St.    Phone: 669-6644
than  suffice and continue to
enrapture.
Thursday 17 February: BASKETBALL - UBC vs U of Calgary 8:30 pm
-David McDonagh
page 5 February, 1983 DISCORDER
TPi&k
An important aspect of TWIZZLE HAIR STUDIO is that each appointment is an hour
long and begins with a consultation. Our staff listen carefully to your ideas, take into
account your hair type, facial features and lifestyle before offering helpful suggestions.
The monthly art shows and occasional fashion shows make TWIZZLE an interesting
2950 West Broadway
Open 6 days a week from 9 am to 8 pm. Call 738-1733
THUNDERBIRD
SPORTS
LIVE
ON CITR FM 102
BASKETBALL     Saturday February 5
ALBERTA 8:15 PM
FRIDAY, FEBRUARY 11
VICTORIA 8:15 PM
THURSDAY, FEBRUARY 1 7
CALGARY 8:15 PM
HOCKEY
SATURDAY, FEBRUARY 19
SASKATCHEWAN 7:50 PM
CIAU VOLLEYBALL
CHAMPIONSHIPS
MARCH 10, 11,12   T.BA
R
"THE VOICE OF THE THUNDERBIRDS"
FEBRUARY 16 & 17 •8:30 PM
COMMODORE BALLROOM
TICKETS: VTC, CBO, Eaton's & Woodward's. INFO: 687-4444,
Charge by phone: 687-1818. High Life Records, Zulu Records,
Odyssey Imports, Rave Records & Black Swan.
OlReport:
albums - february 1983
TM
LM
WKSARTIST
ALBUM
DISTRIBUTOR
,
(2)
8
SIOUXSIE & THE
BANSHEES
A KISS IN THE DREAMHOUSE
POLYGRAM
2
(11)
9
MISSION OF BURMA
VS.
ACE OF HEARTS(US)
3
(20)
4
DOA
WAR ON 45
FRINGE PRODUCT
4
(36)
3
WALL OF VOODOO
CALL ON THE WEST
I.R.S.(U.S)
5  -
d)
8
RANK & FILE
SUNDOWN
SLASH(US)
6
(14)
4
STIFF LITTLE FINGERS
NOW THEN....
CHRYSALIS(UK)
7
(5)
16
IGGY POP
ZOMBIE BIRDHOUSE
CAPITOL
8
(3)
15
THE GUN CLUB
MIAMI
CAPITOL
9
(8)
6
THE JAM
DIG THE NEW BREED
POLYGRAM
10
(16)
6
GRACE JONES
LIVING MY LIFE
WEA
11
(37)
3
THE DAMNED
STRAWBERRIES
BRONZE(UK)
12
(22)
4
THE FALL
A PART OF AMERICA, THEREIN
ROUGH TRADE(UK)
13
(4)
8
XTC
WAXWORKS / BEESWAX
POLYGRAM
14
(6)
11
THE PSYCHEDELIC FURSFOREVER NOW
CBS
15
(10)
9
BLACK UHURU
CHILL OUT
WEA
16
(39)
3
GEZA X
YOU GODDAM KIDS
FINAL GEAR(US)
17
(7)
13
THE BEAT
SPECIAL BEAT SERVICE
A&M
18
(38)
3
THE MUTANTS
FUN TERMINAL
QUALITY
19
(40)
3
MODERNETTES
VIEW FROM THE BOTTOM
VOX DESPERATUM
20
(34)
6
MATERIAL
ONE DOWN
WEA
21
(32)
4
YOKO ONO
IT'S ALRIGHT
POLYGRAM
22
(9)
11
LOS POPULAROS
BORN FREE
GP
23
(25)
9
ADRIAN BELEW
LONE RHINO
WEA
24
(13)
16
JAMES WHITE & THE
BLACKS
SAX MANIAC
CAPITOL
25
(17)
6
LENE LOVICH
NO MAN'S LAND
CBS
26
(12)
12
GIL SCOTT-HERON
MOVING TARGET
ARISTA(US)
27
(19)
17
RUTS DC
RHYTHM COLLISION
BOHEMIAN(UK)
28
(30)
7
BAUHAUS
THE SKY'S GONE OUT
BEGGARS BANQUET
29
(15)
16
SCRITTI POLITTI
SONGS TO REMEMBER
ROUGH TRADE (UK)
30
(26)
20
DEXY'S MIDNIGHT
RUNNERS
TOO-RYE-AY
POLYGRAM
31
(21)
8
MICK KARN
TITLES
POLYGRAM
32
(--)
2
TBA
TBA
FRINGE PRODUCT
33
(23)
17
PETER GABRIEL
SECURITY
WEA
34
(29)
12
KATE BUSH
THE DREAMING
CAPITOL
35
(--)
2
MORAL LEPERS
TURN TO STONE
MO DA MU
36
(28)
14
VARIOUS
MUSIC & RHYTHM
A&M
37
(24)
4
CAPTAIN SENSIBLE
WOMEN & CAPTAINS FIRST
A&M
38
(-)
THE STRANGLERS
FELINE
EPIC(UK)
39
(--)
DEAD KENNEDYS
PLASTIC SURGERY DISASTERS
FRINGE PRODUCT
40
(")
JAH WOBBLE
BEDROOM ALBUM
LAGO 3(FR.)
Noel Baker Music Director
"Los Pops" cont'd from pg. 4
Last spring, after almost a
years absence, Los Popularos
burst back into the club scene,
new, improved, polished, and
Bill Sherk could even sing!
Strong song writing dominates
all the new Popularos' music, as
well as tight, energetic live
performances. Songs like The
Formula, (Which was a demo
tape on the CITR charts) or
Can't Come Back show the
collective abilities and talents
of Los Popularos, and what the
band is capable of. So much for
gushing about the band: now
for the record review.
The first word that comes to
mind when describing the EP
Born Free is 'disappointing'.
The sound production is
muddy throughout, the
mastering compliments the
production, and the Los Pops
themselves come across
sounding something less than
energetic. The guitar is mixed
way down, and neither the
drums nor bass have any edge.
What saves this record from
complete failure are the strong
melodies and lyrics. If nothing
else, Art Bergman, Gord
Nicholl, and Bill Sherk have
learned through years of
practice to write good songs.
Don't Say It and Can't Come
Back are probably the best
cuts. All in all a good effort for
songs and execution, but a fair
to poor for production and final
sound.
Lastly, but by no means least,
this bringsustothenewrelease
by Vancouver's own Modern-
ettes, a five song EP called View
From The Bottom. Back
together again, (sans Jughead)
this band now includes ex-
Metro Ian Noble on drums and
ex-Melody Pimp/Nelson
Brother Randy Valentino, who
shares guitar and song writing
duties along with original lead
singer and guitar player, Buck
Cherry. Mary Jo Kopechne, as
usual, handles bass, mini-skirts
and the occasional vocal chore.
Without a synthesizer in sight,
the Modernettes are arguably
the best pop combo in the
Lower Mainland. If you are
expecting another Teen City EP
though, forget it. The new
Modernettes material sounds
more like their old No Tears or
Confidential, rather than
Barbra or The Number Song.
Their new record suffers from
the same production problems
that Los Popularos' Born Free
does, but where the Pops give a
lacklustre performance, the
Modernettes manage to
translate most of their live
excitement and energy onto
vinyl. View From The Bottom
contains five songs; a cover of
the old Velvet Underground's
Femme Fatale, and four very
good originals, some of which
are reminiscent of Lou Reed &
Co. The two high points of the
record are the punchy pop song
/ can Only Give You Everything
and the heavy Red Nails, a song
about "girls' fingernails, spikin-
up, and Easter" as Mary Jo puts
it. It is also about "everyone's
personal crucifixion" according to Buck, who wrote the
lyrics. View From The Bottom is
a must for those who like lots of
guitar and fast, pounding
drums. Caution: be quick, there
were only 500 copies printed!!
—Gord Badanic
"Voodoo" cont'd from pg. 4.
The theme I refer to
is that of our relationship to our
physical surroundings. Wall of
Voodoo's arena is not the city
and the affects of city life, but
instead, the country, or more
specifically, the land, a subject
which has been deemed
"uncool" by many post-Talking
Heads American bands. Wall of
Voodoo's music, then, can be
considered country music. The
sound which accompanies the
description of "country" is
unmistakably there, but it is
masked by the synthesizers and
rhythm machine which render
the end product totally unique,
and quite danceable. It is
Stanard Ridgway's sharp
American-sounding vocals, his
harmonies, and Marc More-
land's twelve-string guitar that
lend this music the air of a
spaghetti western soundtrack.
But Call of the West is far
more intricate and compelling
than this electrobeat cowboy
song description may indicate;
each song contains subtleties
of sound which gives them all a
depth that makes you listen for
new things every time you hear
the album. Richard Mazda's
dazzling production makes
possible the clarity that in less
capable hands may have been
lost in layers of keyboard, synth
and harmonica. Each song
could easily stand on its own as
a decent single since there are
virtually no weak tracks on the
LP. There are no "filler" cuts of
the type one usually expects;
especially in the current ebb in
the music released by major
labels in which many bands
simply present ashowcasefora
couple of singles and stretch
their talents to the limit trying to
fill up a whole album. Callofthe
West is one of those few albums
that should be listened to and
enjoyed right through from the
first to last cut.
The West has traditionally
been a symbol of hope in North
America, a frontier which
promises wealth, freedom and
happiness to so many;
however, few people ever attain
their goals there. It presents a
challenge in its vastness and, as
Wall of Voodoo seem to know,
"Voodoo" cont'd pg. 7 rlGpOrt"   singles - february 1983
DISCORDER, February, 1983
TM   LM      WKSARTIST
(11)
(8)
(6)
(13)
(15)
(16)
(2)
(28)
(--)
(14)
ELVIS COSTELLO
THE JAM
EGGHEAD
THE CURE
FELT
THEATRE OF HATE
WALL OF VOODOO
WEEKEND
THE THE
SPECIAL AKA
THE UNDERTONES
HEAVEN 17
RHEINGOLD
WAH!
THE PASSAGE
DEXY'S MIDNIGHT
RUNNERS
HEAD TO TOE
BEAT SURRENDER
PROFESSIONAL PERSONALITIES
LET'S GO TO BED
MY FACE IS ON FIRE
EASTWORLD
ON INTERSTATE 15
DRUMBEAT FOR BABY
UNCERTAIN SMILE
WAR CRIMES
THE LOVE PARADE
LET ME GO
DRITTLELANGES DIMENSIONEN
STORY OF BLUES
WAVE
LET'S GET THIS STRAIGHT
ECHO & THE BUNNYMENTHE CUTTER
THOMAS LEER
THOMAS DOLBY
PATRICK FITZGERALD
U2
ALLEZ ALLEZ
BLANCMANGE
SHRIEKBACK
REDRUM
CURTIS BLUES BAND
MALCOLM MC LAREN
HOWIE & THE MEEKERS ROCKY HOCKEY
BAUHAUS LAGARTIJA NICK
BEAST POSSESSED
ALL ABOUT YOU
SHE BLINDED ME WITH SCIENCE
PERSONAL LOSS
NEW YEAR'S DAY
VALLEY OF THE KINGS
LIVING ON THE CEILING
MY SPINE IS THE BASSLINE
DANGER/never know your name
PEOPLE SHOULD BUY ME DRINKS
BUFFALO GALS
F-BEAT(UK)
POLYDOR(UK)
DEMO TAPE"
FICTION(UK)
CHERRY RED(UK)
BURNING ROME(UK)
I.R.S.(US)
ROUGH TRADE(UK)
WEA(UK)
TU TONE(UK)
ARDECK(UK)
VIRGIN(UK)
HARVEST
ETERNAL(UK)
CHERRY RED(UK)
MERCURY(UK)
KOROVA(UK)
CHERRY RED(UK)
VENICEINPERIL(UK)
RED FLAME(UK)
ISLAND(UK)
VIRGIN(UK)
POLYGRAM
Y(UK)
DEMO TAPE-
DEMO TAPE"
DEMO TAPE
BEGGARS BANQUET
AMDUSIAS(US)
Noel Baker Music Director
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"Voodoo" cont'd from pg. 6
usually leaves its inhabitants
with a sense of desolation and
awe. There is a sublime appeal
to man in the barren land which
is so clearly the master-in the
struggle. As the title track
states, "there's a conflict
between land and people....
the people must go." This is not
to say that this is a pessimistic
album; it is rather a collection of
tunes that tell different
fascinating stories, which all in
all describe the good, the bad,
and the ugly aspects of life in
the Western U.S.
Call of the West is Wall of
Voodoo's most accessible
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"Berlin" cont'd from pg. 3
often serving as the only
contact point for many of the
city's vagrant youth. At The
Mink, The Ruin, Tell-Towerand
many others, young people
converge to exchange ideas,
converse, listen to music,
dance, and pay tribute to the
spirit of youthful idealism.
Over the past few years the
city has exposed a new wave of
artists all eager to express their
creativity as well as to find an
audience willing to accept it.
Among these are a new group
of neo-expressionists loosely
referred to as 'Mulheimer
Freiheit', and the new
advocates of electronic and
pop music such as Malaria,
Grauezone, Fehlfarben, andthe
musical    deconstructionists
Einfallende Neubauten.
West Berlin is not an
amalgamation of various
artistic and political forces each
seeking a separate voice; they
are seeking the same voice. The
youth culture, the squatter
movement and the vibrant
artistic scene are linked, bound.
and joined by common goals.
These goals include a freedom
found in self-expression, a
rejection of the military horror
threatening the world, and most
importantly the desire to share
a close and common feeling
with others in what seems to be
an even more dehumanised
western society.
--Werner Jahnke
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JONES  BAND
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February 3 and 4
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Rock in Rock-a-billy
February 17*nd18
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Cover -700
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HERALD   NIX
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February 24 and 25
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BAND
Blue  Grass
Original Folk Jazz.
Jan. 31-Feb. 1
February 2-5
M ¥M
No Cover Show:9'00
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KEIhTbENNETT I
AMD THE    BLUES
i
MARV
IIEBERT
GARY
BOWMAN
Blues
Country   Blues
Jazzia   Blues
February 9-12
February 15-19
February 21-26
No Cover           Show-^OO   1
No Cover       Show-9:00
Do Cover      Show- 900

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