Discorder CITR-FM (Radio station : Vancouver, B.C.) 1983-12-01

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VOL 1 NO 11
¥A guide to CITR tm 102
5^ CABLE 100
Latest from X,
THE CRAMPS, DER PLAN ^A guide to CITR fm 102
'-' CABLE 100
Chairman Sukhvinder Johal discusses party politics with the Gang of 4
Andy Gill and Jon King are
not happy. I know why, but,
mercilessly, I ask them if they
happened to cross any picket
lines on their way up to the
S.U.B. Ballroom for their Vancouver gig in early November.
Gill replies that yes, they were
informed that they were crossing a picket line, "but at that
point we weren't aware exactly of what was happening
anyway, so we didn't have
much option as to what we
were doing." "We had all
been on holiday for the last
week and had just met up; we
got out of the cab and like
Andrew said, these people
said this. We didn't know
what was going on until we
were actually inside the building, and then we went outside
to speak to some of the pickets
to find out wiiat mis tiling was
about, 'cause obviously we
didn't know anything about
The air of despondency
"It's not something I like to
do, if we had -" he continues
after a pause, but Gill buts
him off impatiently: "Anyway
..." he says, obviously wanting to get on with it.
Not so fast, young Andrew.
What is their feeling about
playing despite the strikes and
"Even if we'd known a few
days ago we could've altered
our  plans,   but   not   knowing
until you walk into the gig, it's
not something where you can
just tear the gear down and
say 'Okay, let's go back to the
hotel' because you go on a day
to day basis: the money from
this gig pays today's wages,
today's hotel, today's trucking, today's petrol. If you
don't get that money all those
things can't get paid, and
you're in a really serious
situation - a very serious
situation. It's a very tightly
based thing, you're talking
about thousands and thousands of dollars. If we'd
known even a few days in
advance we could've made
alternative arrangements because obviously in any normal
situation we would identify
with workers attempting to
better their situation in negotiations with management,
but there comes a point where
you can't completely bankrupt
yourself over something which
you don't know very much
about and are suddenly dropped into. It's unfortunate; I'm
sure some people will use it to
paint a bad picture of us ...
We've been deliberating for
the past two hours if there's
anything we can do about it,
but there isn't."
Gill's arguments seem quite
reasonable although it may be
argued that a principle is a
principle and sacrifice is the
name of the game. However, I
decline the temptation to pass
such a comment, feeling eternally grateful that I'm not in
their awkwardly-fitting
The question on the lips of
many a weeping and hair-pulling music fan is, 'Is this the
Gang of Four we know and
love,' especially with this new
Hard*] album.
"I don't think you can stay
the same forever. I wouldn't
want to repeat the first record
or the second record again.
You change and modify the
way you want to present
yourself ... the kind of things
you want to do. I'm very
happy with what we've come
up with," Gill declares. King
takes up the baton: "We
made the record that we
wanted to make and I think
it's amazing that people can
listen to all these repetition-of
-1976 punk rock records. I've
heard it all before, it's exactly
the same. We're not performing monkeys, we don't go out
to jump up and down and play
old favorites, although obviously we do play, when we
feel like it, songs like Damaged Goods or Anthrax or
whatever - when we feel like
it. But as I say, we're not
performing monkeys, we're
people who do things that we
believe in when we make
them. We're also not people
out to make commercial big
bucks, that's quite obvious
from our career. Take Hard
for example, people say this is
a commercial record; well it's
quite obviously not a commercial record because it's not
a record which appeals to soft
rock radio programmers -" —
Why do you say 'quite obviously?' I interject. "Because
they're not playing it. We
didn't design it to be for those
people and the fact that it's
not being played any more
than any other record we've
ever made shows to me that it
isn't that kind of record. If we
had made a record that conformed to those things then
they would be playing it. A
song like Is It Love has got a
kind of codified Philly soul
sound to it but the verse is
spoken-cum-sung and is not at
all like that, it's something
that dislocates the groove, it's
not a seemless moronic thing
that does nothing; none of our
songs have been like that. The
fact that maybe it sounds a bit
more attractive at points and
the production of it is more
polished doesn't mean that
it's the Journey or Spandau
Ballet for example, who are
the sort of ... you know ..."
He politely leaves the impending insults unsaid and sighs
Has there not been at one
slight point in the last few
years a passing though that
perhaps 'we've paid our dues,
we've slogged around for
enough time and now it's time
to get serious ...' "Well we
wouldn't have made Hard if
we felt that we were going to
abandon everything we had
ever done. You don't write
lines in a'pop song'like The
men who own the city make
more sense than we do. You
don't do that kind of thing. If
you decided to make that
decision you would sort of say
'Right, we'll write things that
have no content at all." It's
quite obvious we haven't done
that. The fact that some
people may not think it's the
Gang of Four is a problem that
they have in their perception
of what they think we
ought to be doing." King eyes
me accusingly. I change the
subject. Am I right in assuming, reading the lyrics off
their albums, that they care
about things as basic as
poverty and equality?
"I wouldn't express it in
that grand a way," Gill replies
"but I think it is a thread
which passes through our
music; it is the bottom line."
The reason I ask is that cynics
are wont to ask is this the care
and concern of genuine activists of smug, university-educated,  white western  youth?
"Well that's why I say that I
wouldn't express it in that
grand a way, because there
are no pronouncements about
poverty or equality. I wouldn't
particularly see it as my
sphere to make pronouncements about poverty or
How do they feel about the
fact they they're very unlikely
to alter their own niche in
society or anybody else's ...?
King leaps in: "The thing
about all this is that after a
while I find we get asked
questions which are peripheral to what we actually do,
because not being a band who
write songs about the government or the police or even the
army ... I mean, we've written
songs like He'd Send In The
lArmy: it's about somebody
who's head of the family.
They're always about people
in very small-scale situations.
I am not a politician and I
would not be interested in
being a politician. We're not
evangelists selling any kind of
political line." Apart from the
fact that I'm not convinced
that the Gang of Four are as
apolitical as King would have
me believe, I'm not exactly
sure what he's getting at.
Andy Gill provides an unexpected rescue: "What's that
got   to   do   with   what   he's
CONTINUED PAGE 2 cinrt- diS^qrdeR
fflllO.2 Cable 100
Michael Shea
Bill Mullan
Michael Shea
Harry Hertscheg
Harry Herts
Vijay Sondhi
Chris Dafoe
Sukhvinder Johal
Steve Robertson
Rob Simms
Mark Mushet
Dean Pel key
Terry Orr
Jason Grant
George Barrett
6138 SUB Blvd., Vancouver, B.C., V6T 2A5
DISCORDER is a monthly
publication brought to you by
the Student Radio Society of
the University of British
Columbia. DISCORDER provides a guide to CITR Radio,
which broadcasts throughout
the Vancouver area at FM
101.9. CITR is also available
in Mission, Maple Ridge,
Coquitlam, Port Coquitlam,
Richmond, Burnaby, North
Vancouver, West Vancouver
and Vancouver on FM cable at
100.1. CITR transmits its signal with a power of 49 watts
from the Gage Towers on the
UBC campus.
DISCORDER is distributed
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Harry Hertscheg at 228-3017.
General business enquiries
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request line is 228-2487 or
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Dear Mr. Airhead,
Why are you people still
doing live broadcasts of the
T-Bird football games? Fie,
pox, and shame on you,
especially since your own
survey revealed that only 12%
of the listeners gave a damn
about the games. I lost the
Discorder issue with the survey results ... but if I still had
it I would use it to bring the
wrath of God upon your sports
department. I pity the fools
what listen to de aimless
football        broadcasts!
Yours Truly,
Mr. T
(No relation to the T-Birds)
No comment
Dear Airhead?
Here  I   sit   broken-hearted
Paid my dime and only ...
oh shit, wrong writing attitude
(thinks: what the fuck did I
write in the can in Main?) Er
what was I going to say?
Vote Socred? No, that wasn't
it. Solidarity forever? Nope,
not that either ...
Oh yeah, now I remember. I
was going to say:
I am worried about my
health, because my friends
(both of them) say that listening to CITR will make me go
blind and also lower my sperm
count. Can you tell me the
Dear Airhead:
I am a 16-year-old high
school student who just
doesn't have any luck with the
girls in my class.
My sister says it's because
I'm an obnoxious pizza-faced
pile of fetid dingo's kidneys,
but my mother says she's just
a stupid, pasty-nosed anti
deodorant commercial and
that the real reason that I'm
not Mr. Popularity is that I'm
an ignorant little fart.
Just who should I believe?
Be-Bop Beatwear
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Sam the Record Man
DISCORDER is also distributed
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Lower Mainland campuses, as well as
various community centres and Vancouver public libraries.
Ralph Rancid (Mrs.)
Actually, the truth is that your
sperm will go blind but I can
Yours Sincerely,
J. Spriggs, Jr.
Vancouver, B.C.
Neither. Believe me, I know
that spiritually at least, you're
a beautiful person who I
KNOW can come to grips with
the fact that he looks like
lasagna with a bad case of
assure you that they'll be able   leprosy. After all, looks aren't
to count just fine,    everything. But almost.
Dear Airhead:
Several of my closest
friends say that I shouldn't
worry about nuclear holocaust
as it won't happen and if it
does then I'm bound to be
vapourized immediately or at
the very worst survive for a
few weeks of months.
But maybe I'm just a cynic
or a crybaby or an asshole and
I just cannot find comfort in
the kind words of my friends.
What do you think I can do to
alleviate my fears about the
coming nuclear devastation?
Do you think that drugs would
help or is the answer in
religion or maybe in going out
and shooting some of the
bastards that keep us living on
the razor edge of sanity?
Please don't make some
sort of silly comment about
listening to CITR and having a
good time as most of the good
music that you play has to do
with facing up the END OF
IT and this just makes me
want to go out and take a lot of
drugs and shoot some religious leader.
What would you recom-
Yours Sincerely,
Brill Spriggs (no relation)
Vancouver, B.C.
I think you should buy me
something to make you feel
Dear Airhead:
You were complaining
about not receiving any mail
awhile ago. I guess the letter
bomb I sent you got lost in the
mail, just as well. I was just in
a bad mood that day 'cause
my mom joined the Moonies.
The shock therapy's helping
my bouts of depression
No bomb this time, I'd just
like to know why CITR DJ's
talk in such monotome voices.
Are they androids or lobotomy
saying about the niche in
society?" he asks his fellow
band member. "I'm saying,"
King continues, "as regards
changing our niche, we're not
working in an agit-prop area,
we're not out agitating for a
particular goal or an end. Like
the idea of what you said
about white middle-class boys
making these pronouncements - that's exactly what we
don't do. Occasionally we've
done something like  To Hell
With Poverty: it's the closest
thing to that (agit-prop), but
that's the chorus line to one of
the most simple songs we've
ever done; it's not our topic,
we don't write songs about
page 2
I'm still somewhat dubious.
After all, the Gang of Four
rarely pass over the opportunity to have digs at the
absurdities of our society.
With this in mind I ask them if
their approach to playing the
North America differs from
playing in Britain. After all,
don't Cheeseburgers taste
nicest in the Land of the
(monetary) Spree, Home of
the Slave? "I think in some
ways America seems kind of
clearer than other places in
the Western World - it's more
like a cartoon of our ideas.
There are American references in our lyrics quite often.
I think we like playing America as much as we like playing
in   Europe   ...   the   mass   of
people aren't as terribly
trend-conscious, they're not
terribly worried if you're this
month's flavour, which tends
to be the case in England."
I decide to have another
stab at trying to clear up the
still-murky topics of ex-members Dave Allen and Hugo
Burnham. Are they more than
happy with the stage of evolution which the Gang of Four
are at right now, I ask. "I
don't know where we're going
to go from here," says Gill,
"Were still working, enjoying
what we're doing." So they're
not going to purge themselves
like their Chinese mentors
were purged because they've
been going too long? I slip in
slyly. Gill and King will have
none of it: "Well, I enjoy a
purge now and then," Gill
smugly offers. "Yeah," King
chimes in, "an enema is good
for anybody. I think that the
thing is that if you are
motivated as bands are, 99%
of the time, by money, then, if
by the stage that we'd got to
they were earning as little
money as we do they'd have
given up; they would've said,
'What the hell are we doing,
we wanted to make big bucks
...' Bob Geldof's ambition was
to get rich, get famous and get
laid - maybe he got famous.
That kind of thing is not what
motivates us, we're not famous but what we do we do
very well and as we want it.
We're totally responsible for
our own career/'
I accuse the band of having
lost the hard (ha-ha) edge,
musically and lyrically. "On
that particular album we
wanted something which had
a more rounded sound to it,"
King declares defensively.
"You don't always have to
make something which is very
difficult to listen to or which
obviously pronounces its own
avant-gardeness all the time;
you might want to make
something which uses more
accessible musical devices .."
says Gill. How much control
does their record company
have over what they put out?
"In our case they have absolutely zero." "Sweet E.A."
King helpfully articulates, in
case I hadn't understood.
Anyway, I being to wonder
why, then there appears to
have been an overall toning
down of the Gang of Four
stance. One of my favorite
album covers was the Entertainment    album  with  the
scenario of the cowboy and the
Indian. Looking at the cover of
Hard - a standard studio shot
with, let's face it, a pretty
rough and ready graphic of
'Gang of 4' - it's hardly the
same calibre-playing the
game somewhat? "You can go
for different things; let's face
it, if you did four covers all
with these witty little scenarios around them I think that
could actually debase your
own ideas more than moving
away from it ... because the
first one was seriously intended and at the time it was a
very odd thing to have on a
record cover ... [Hard] was
meant to be kind of like a
'business' cover - which is
exactly what you said," King
says in realization, "some
people might have taken it to a
silly extreme, you know, you
could've had us in gold lame
suits looking like ABC or
something but these things
have such a coy cuteness
about them: 'Aren't we sweet'
he dryly mimicks, "whereas
we've always existed on a
level of irony and I think a lot
of the time people have to
work out whether we're serious or not." THE INVASION OF THE ?-MEN
Who are these Enigmas?
Where are they from? What is
their sinister aim? And when
are they playing next?
Everything You
Wanted to
Know About..
... the Enigmas are one of the
best things to come out of the
Vancouver music scene in a
long, long time. Their onstage energy is phenomenal
and their five-song debut EP
is a masterful piece of garage-
pop in the tradition of the 60's
bands that cropped up in the
wake of THAT British Invasion.
Although often compared to
the Count Five and The Seeds
live, the Enigmas do justice to
everything from Iggy Pop to
The Electric Prunes to the
Kinks to The Sonics. Their
originals are equally good (in
some cases better, eh? - ED.) -
how can you go wrong with
songs like Teenage Barnacle
and   Pancho Villa ?'/!!
And now fans!
The Enigmas
... first, let me introduce
Mike Davies, guitar player.
Mike left the early UK punk
scene to move to Vancouver.
He was the one that got
hooked on 60's garage/psy-
chedlic music, first passing
the BUG on to Brian, and then
the others intravenously. As
well, he listens to everything
from the Fleshtones to the
Residents, and even some
electro-pop. "Well, I got sick
of that a few years ago!"
(C'mon Mike, I know you
bought that last Yazoo disc).
This is
the guy
who likes
to bare
his chest..
... Paul McKenzie, lead vocals
and sax. Watch out for this
guy! He dances faster than is
physically possible ... he
burns enough energy in one
gig to power Burnaby for two
Brian Olinek, who plays bass.
His billion-note-per-minute
(BNPM) basslines reflect his
tastes for hardcore and punk,
in addition to the Enigmas
sound. One-half of a solid
rhythm section.
Other Half
... Right here. Randy
Bowman on drums provides a
steady, jack-hammer beat,
tastefully laced with fills not
unlike bursts of machine gun
Die Whole Band
Really Does Write
Each Song
with lyrics
often coming from Paul and
the riffs coming from jamming
in practice. Their songs deal
with day-to-day life Green-
street and Daymare , historical enigmas (Pancho Villa was
a real-life Mexican hero that
stirred fear in the hearts of
Americans), and the kid-next-
door Teenage Barnacle
touches on tne B movie/Sci-Fi
/Beach/Horror/Camp genre
that the Rezillos capitolized on
so well in the late-70's . Live,
this song incorporates snorkel
and flippers.
... Brian and Mike met and
started jamming with Ron
(Moran) Scott (ex-lnsex, ex
Shanghai Dog) in the winter o
1981. Mike hooks Brian into
60's garage/psychedelia, and
the two decide to go on from
there. Mike says:
"At that time there was a
lot of dogmas associated with
doing cover versions in the
punk scene, so any new band
had to write a load of low-
quality originals. Therefore,
we picked out a lot of obscure
60's garage rock and started
to write a few originals. We
both knew Paul, and as his old
band (The Wankers) had broken up, we asked him over.
His experience in bands had
been mostly as bassist/vocalist, so he was interested in
trying just vocals, with occasional sax. We spent February
writing Daymare and
Greenstreet. came from this
time) and searching for a
drummer. We asked Randy
(Brian used to play with him in
the Little Rat-Skulls) but he
tried out for the Subhumans
first, and unfortunately got
the job!"
So, the Enigmas go on to
play their first gig in the
basement of a party with Cam
Beck on drums ... but by
March of 1982, Cam had
broken his thumb. He is
replaced by Paul Sorboura
(ex-The Verge,  a 60's band
who recorded on Capitol and
layed at the Strawberry Fields
Festival). The Enigmas play
their first club date, supporting the Greasy Spoons at the
Buddha ...
... but later that summer
they were on the streets
busking. Their first show on
Granville Mall attracted such
a large crowd that the buses
had to be stopped. They also
played outside the Robson
Street liquor store where a
bag lady says to Mike, "You
come straight from Hell!"
In September
of 1982,
decides to quit the band at just
about the same time that the
Subhumans break up, so Randy finally joins the Enigmas.
Since then the band has been
playing its collective guts out
at such diverse locales as
Outlaws, Cityspace, and at a
wedding for the Skalbania
family. They've also played at
the Commodore twice - backing the English Beat, and a
Doors cover band, Strange
Daze ... "that was probably
our worst gig, we found out'
about it that afternoon. Paul
decided to do the big entrance
after we had already started,
but he seemed to be taking too
long. I swung around to look
for him apd rammed my guitar
neck into his face, butting
open his cheek, and putting
my guitar totally out of tune."
I told you they were great to
see live!
past year,
Engimas have changed from a
loud, fast, exciting band into a
loud, fast, exciting and tight
band (its the trousers, man)
with tons of stage presence
and distinctive song-writing
ability. Live, one is immediately taken by the groovy
threads: paisley shirts, leather-fringe vests, striped bell-
bottom jeans, cool shades,
and go-go boots for the go-go
dancers, the Enigmettes. On
some occasions you might be
lucky enough to catch the
mind-blowing light show with
strobes and one of those really
neet lava lamp slideshows.
From beat one at the start of
the set, the dance floor will be
packed with punks, trendies,
hippies, and even those who
are under 30 and don't wear
black or get their coif styled at
a salon. The next hour or so is
filled with three-minute intervals of chaos, broken only by
the terrible jokes that Paul
tells. As often as not, the
evening will end with a seer-
ing version of Psychotic Reaction , with a xen-minute
rave-up at the conclusion. The
Cramps pale in comparison.
The Enigmas imitating the
Residents covering the Count
Five ripping off the Yardbirds.
Hot indeed!
-Gord Badanic
»v.at^y"-: THENEATS
This is the first full-length
album from the Neats; a
Boston band that had put out
peviously an EP entitled The
Monkey's Head in the Corner
of the Room. The band formed
in -1980 from a group of local
college drop-outs. The band's
lineup is: Eric Martin (Vocals,
guitar, organ), Phil Caruso
(guitar), Terry Hanley
(drums), and Jerry Channell
(vocals, bass.)
The Neats are part of a
trend towards a mid-sixties
folk-rock oriented music, with
added early psychedelic influences. The Byrds are obviously a big influence on Neats.
This bands style is somewhat
similar to the sort of music put
out by R.E.M., and, to a
certain extent, Echo and the
Bunnymen's Crocodiles'. This
is not a bad type of music, as it
generally lacks crap and is
capable of great intensity and
a good driving beat which is a
perfect background for heartfelt lyrics.
This album is quite listen-
able, but lacks a certain
something that would make
me want to buy it or rave over
it. The Neats show a much
more varied approach to
music on Neats than on The
Monkey's Head ... But this
disc lacks some of the energy
found on the first record. This
record is marred by the vocals
mixed so far back so that it is
hard to make head or tails of
what is going on. Eric Martin
sounds! like he's talking about
something important, but, on
most cuts, you can't hear what
he's going on about. His voice
throughout is plaintive and
much like that of X's John
Songs such as Another Broken Dream and Water sound
very Bunnymanish , but without MacCullocn s vocal clarity
and commanding presence.
Certain songs, including the
album's single Caraboo, as
well as Ghost, Now You
Know, and Sad are folk-rockers, with Sad being the best of
the lot, and with not a lot of
difference amongst the rest.
Do The Things and Sometimes
are organ-based songs that
make me think of that great
Boston band of the mid-sixties, The Standells. Do The
Things is a controlled rocker
with probably the most happy
lyrics on the album, a good
beat, and a good guitar solo
that sounds like a cross between early Kinks and Jefferson Airplane at its peak, as
well as effective harmonica.
My own fave is Stay Inside,
which is one of the few tracks
on this album where the
vocals are really clear. The
song is very country-bluesish
musically, and it makes me
thing of The Gun Club's Texas
Serenade. The vocals are sad
and lyrics bleak, with the
harmonies re-inforcing the
In all, a great album for
Sunday morning listening or
adding to your depression, but
lacking the energy, originality
or proper mixing of a really
good album.
- RobSimms
Die Letzte Rache
Die Letzte Rache. The Last
Revenge. The latest project of
fascinating German group Der
Plan. The Plan. What is the
plan? You may well ask.
Whatever it is you can rest
asured that it is for the greater
good. Der Plan are often
referred to as a German
version of the Residents. The
similarity lies in the fact that
both groups have a penchant
for short, weird songs, as I
have a penchant for short,
weird record reviews.
One thinks of the Residents
Commerical album. That's the
one consisting entirely of one
minute long songs that were
broadcast on San Francisco's
commercial radio stations as
one minute long commercials.
The Residents must be independently wealthy. A brilliant
idea nonetheless. Problem.
The Residents will always
sound like the Residents. Der
Plan, on the other hand, do
not always sound like Der
Plan. This is good.
Die Letzte Rache serves as a
soundtrack for a film of the
same name by German film
creator (whoosh!) Rainer Kir-
berg. What is the film about?
You may well ask. I don't
know, but if you read German,
die story is provided on the
inside of the gatefold cover, U
gather, from the stills accompanying die story, that this is
not your basic "Tootsie."
page 4
Indeed not. The cover suggests a happy family of radioactive large mouth bass emerging from the muck and mire
of Dante's inferno. You can
rest assured that it is most
likely a pretty wild and fascinating film, as is the music
put to it.
Der Plan record covers are
the greatest thing since filet of
Panda. Perhaps, at this point,
you'd like to know something
about the music. No shortage
of variety here. Frank Fens-
termacher, Moritz Rrr, and
Kurt Dahlke (Pyrolator), provide us with snippets of
dialogue subjected to electronic treatment and accompaniment, the obligatory atmospheric tracks that usually
distinguish soundtrack albums, a delightful flute piece,
and a couple of odd, twisted
parodies of B-grade '60s spy
The LPs 30 tracks rarely
clock in at over two minutes in
length and succeed in keeping
one's mind leaping from one
bizarre aural scenario to another. This is an immensely
enjoyable record. Der Plan are
much more deserving of a
large "cult" audience than
the Residents. Perhaps they
shouldn't have identified
themselves! If you see this, or
other Der Plan/Pyrolator discs
and there are many around
town, buy them! Inland, Aus-
land, Normalette Surprise!
Geri Reig and singles! Music
for your eyes! Ich bin ein
Large Mouth Bass!
--Tensum Kram
I do not take well to
responsibility and so when the
editor thrust the new X album
(More Fun In The New World)
into my hands and told me to
have a review ready in three
days I was rather troubled. I
mean, what do you say about
an album that rockets to
number one on the CITR chart
in only four weeks?
But after eating, sleeping,
and working with the album
for those three days I feel that
I can safely make two statements:
1) X should no longer be
considered a "punk" band.
2) Billy Zoom is god.
Although X did emerge from
the L.A. hardcore scene, the
new album shows a versitility
of styles and amalgamation of
influences that far exceeds
any typical hardcore band. X
have combined tinges of jazz
(/ Must Not Think Bad
Thoughts), country (Poor
Girl), and straight ahead rock
and roll (Dev/7 Doll) to come
X More Fun in
The New World
up with an album that not only
sounds great but may enable
them to back up the statement
of so many critics as to they're
being the best rock and roll
band in America.
Of course every great rock
and roll band has to have a
great guitarist and X is no
exception. On this album Billy
Zoom once again gets a
chance to stake out his territory as a six string messiah.
The guitar sound is lean and
clean with plenty of chunky
solos which aren't drawn out
or over-bearing according to
the usual AOR guitar school
format. Once again Ray Man-
zarek is behind the production
console but this time he avoids
the drum heavy sound of last
year's (Under The Big Black
Sun) and the result is the
return of the 50's rockabilly
meets 80's punk/blues guitar
chug that made (Los Angeles)
so  refreshing.
Vocally both Exene and
John Doe are in fine form. In
fact, Exene may have turned
in her finest vocal performance on this album, creating
some tasty harmonies with
John on (New World) as well
as doing Jerry Lee proud on
Of course one of X's strongest points has always been
their lyrics. On (More Fun In
The New World) Exene and
John Doe examine once again
the world around them and
find out that it isn't such a
pleasant place. (New World)
which opens the album is a
comment on U.S. society saying it was "better before they
voted for what's his name." (/
Must Not Think Bad
Thoughts) looks at the state of
modern radio and decides it
still isn't too healthy. John
Doe makes some sarcastic
comments about synthesizers
and the "new music, you
know the British invasion,"
while Exene wonders about
the Flesheaters, DOA, and
Black Flag. As they say, "will
the last American band on the
radio bring the flag." Elsewhere, (Drunk In My Past)
comments on alcoholism in
the family and (True Love)
shows how intertwined love
and loneliness can be.
Although (More Fun In The
New World) doesn't match
(Los Angeles) in intensity, it's
possibly the best thing X have
done since then, and Billy
Zoom's guitar work is worth
the price of the album alone.
It's an album that works both
lyrically and musically.
— Dean   Pelkey
THE MOST PLAYED ARTIST(s) on citr during november were:
": ■■"■ ''"'::*
1. Public Image Ltd.
2. X
3. Iggy Pop (& The Stooges)
4. Gang of Four
5. The Fall
6. DOA
7. XTC
8. Elvis Costello
9. Talking Heads
10. Kevin Zed
11. Echo & The Bunnymen
12. David Bowie
13. The Cramps
14. Siouxsie & The Banshees
15. Killing Joke
16. The The
17. Dead Kennedys
18. The Clash
19. The Stranglers
20. The Cure
21. The Jam
22. Wall of Voodoo
23. Bauhaus
24. Red Guitars
25. Yello
26. The Pulse
27. Was (Not Was)
28. Alien Sex Fiend
29. Nina Hagen
30. Enigmas
31. Brian Eno
32. Jonathon Richman
33. The Teardrop Explodes
34. The Alarm
35. John Cale
36. House of Commons
37. Adrian Belew
38. John Foxx
39. Joy Division
40. Kraftwerk
41. 3 Teens Kill 4
42. Corsage
43. Fad Gadget
44. Sepcial AKA
45. Dave Howard Singers
46. Cabaret Voltaire
47. A Certain Ratio
48 Violent Femmes
49. Tom Robinson
50. T-Bone Burnett ▼ w i?W^^
Smell of Female
album (?). (It only has just
over twenty minutes of music
on it) from the Cramps; taken
from a show recorded at, New
York's legendary Peppermint
Lounge. The cover, one of the
year's cheeziest, shows guitarist Ivy Rorschach in a
number of salacious poses
which should enflame the
heart (and perhaps other
areas) of even the most jaded
reviewer. What this cover
promises, the album delivers -
six trashy tunes which are
hard, fast, and dirty. My one
reservation about the album is
that it is shorter than originally planned (which was called
Real Men's Guts Versus the
Smell of Female) missing such
anticipated cuts as a cover of
the Stanells Sometimes Good
Guys Don't Wear White, a
Cramps live standard, as well
as Five Years Ahead of My
Time and Sinner.
SMELL OF FEMALE delivers Lux Interior in fine vocal
form; shouting, leering, and
hiccuping his way throughout
the show. Nick Knox adds his
steady, persistant one-stick
back-beat, and the guitars of
Poison Ivy and Congo Powers
(who has since left the band)
drive along, using most of the
riffs that history has assigned
to the musical dungheap. The
sound on the record is very
muddy, swampy and unclear,
but the vocals are highly
audible; besides, the muddi-
ness is present on the Cramps
studio work, and is part of the
band's charm. In fact, the
Cramps' live sound varies
little from their studio sound.
The only bit of sloppy production on the album is at the end
of / Ain't Nothin but a
Gorehound, where they start
into New Kind of Kick, which
is rapidly faded out.
The songs ...? The album
starts with The Most Exalted
Potentate of Love, where Lux
(the celebrated Hottentot of
Twat) is enticing some innocent lovely to look at the
pictures in the book of love.
You Got Good Taste is another
dirty ditty, with the listener
being able to guess what the
Lux wants to taste; which ties
in nicely with the olfactory
implications of the albums
title. The Call of the Wighat is
a riotous tale of a degenerate
mental defective on the rampage. Side Two opens with
Faster Pussycat, with mondo
wild living lyrics set to the
theme music from a Russ
Meyer film called Faster Pussycat, Kill, Kill. Gorehound is
about a fellow who lives in the
swamp and surfs in blood,
with a backbeat that sounds
suspiciously like Alan Vega's
version of Be Bop A Lula. The
album closes with a sympathetic cover of the Count
Five's Psychotic Reaction featuring standard wild harmonica.
Although this record is not
as demonic as Songs the Lord
Taught us, or as spastically
goofy Psychedelic Jungle, it
should please fans, and at
least amuse non-fans.
compiled by Mark
DIE FORM Exicisions
DER PLAN Die Letzte Rache
PORT SAID Crossings
WILL SARGEANT Themes from "Grind"
UN I VERS ZERO Crawling Wind
HUMAN FLESH Third Human Attempt
JAZZ BEAT - compiled by Fiona MacKay/Bob Kerr/Shelley
Freed man
JAMES WHITE'S Flaming Demonics
ROCKERS' SHOW PLAYLIST - compiled by George Barrett
PETER TOSH Mama Africa
BURNING SPEAR Fittest of the Fittest
BLACK UHURU Party Next Door
SUGAR MINOTT Suffere's Choice
UB 40 Labour of Love
THIRD WORLD Love is Out to Get You
DENNIS BROWN The Prophet Rides Again
BOB MARLEY Confrontation
The Reggae world is saddened by the passing of Hugh
Mundell, who was murdered at his home in Kingston on
October 13. Hugh leaves behind a legacy of excellent music
including his classic "Africa Must Be Free by 1983," on
Augustus Publo Record Label, and a recently released album,
Black Man Foundation on Shamachie Records. The past few
months have also seen the passing of DJ and dub master Prince
Far I on September 15, and DuB poet Michael Smith in August.
Walk good, next time "I".
From the city of mediocrity
and stagnation comes an interesting collection of varied
and surprising musical talent
The city is Edmonton and the
compilation is entitled It Came
From Inner Space. It's hard to
believe but even that far
away, inaccesible place has its
own underground sounds as
evidenced by the eight bands
presented on this disc.
The first side starts off with
The Touch. Characteristic of
almost the entire album, this
band grows on you with each
play. Their tracks feature
subtle and quick guitar licks
and some tasty sax.
From The Thieves we get
Screams an excellent tune that
puts across a dreamy enchanting quality with biting lyrics.
It's good to see that these
early Clash-clones have evolved and found their own
As for Route 66, all I can say
is that they sue . Syrupy,
redundant, childish and
boring are words that come to
In direct contrast to the
aforementioned band is the
pop sounds of Moe Berg and
facecrime. Moe was the lead
guitarist/singer of the early
Modern Minds 5nd his latest
band follows similar lines
(Modern Who? Excuse my
ignorance: - Ed.) / Know
Some People is sarcastic, and
satirical. The throbbing bass
pulls the song,   leaving  Moe
free to sing his heart out and
pluck some soulful leads. Definitely one of the high points
of the album.
The Malibu Kens are a
band you either hate or love.
As their name suggests they
have a sound that can only be
described as surf-bop. Technically competent and supported by great background harmonies, the band has improved since their By My
Barbie single a few years
back. Mike Sinatra's voice is
not as whiny and pre-pubes-
cent on these selections, but
after repeated listeneings, I
still wince occasionally. Still,
of you like either the Beach
Boys or the Ramones then
these guys are worth a listen.
Like almost any sizable
metropolis, Edmonton has
some hardcore punks. While
most of the bands on this
compilation are pop-oriented,
SNFU and Down Syndrome
are noticeably more intense
and upbeat. They are two
pretty different bands though.
Down Syndrome seem to be
stuck in the 70's and have
more of an English influence.
They're really not presenting
anything that hasn't been
done a million times before.
On the other hand SNFU has
distinction. Whether its the
insane percussion by Nathan
C. Jones or the direct no-
nonsense lyrics, this band
projects a fully aggro, yet
stylish approach to punk.
To sum it up, this album has
more than a few good tunes
and provides an excellent
insight into a distant city's
underground. Go for it.
-Terry Orr
And We Don't Even Know What You Want!
CITR needs your Christmas list; tell us what your three
favorite songs of all time are. That's not an easy one at the]
best of times, but we only want your three fave raves, all
three fave raves, and nothing but your three fave raves. (See!
At last, a SIMPLE form to fill in!) Your choices will then be
allotted points: 1 for the third fave, 2 for the second fave and
three points for the favorite fave. All the points from all the
replies will then be tallied, and a list of the top 50 will be
compiled. You can hear them, from #50 up to #1, starting at
6:30 p.m. on Christmas Eve.
This form will be repeated in December's Discorder and
will also be available at the regular key places around town,
y'know, Zulu, Odyssey, Cabbages & Kinx, etc. Drop your
form into the drop-off boxes at these places or mail it to: CITR
TRACKS: side 1:  Way Down
Gotta Be
side  2:  American
Live For Today - a new
version   of
You won't regret turning
this band's hard-paced, biting
songs up to a volume that just
avoids blowing your speakers.
It's worth it.
On the other hand, the HOC
sounds have almost as much
energy at lower volumes although the further you turn
the dial down, the less the
chance you have of being
consumed by these explosive
tunes. Turn it up. Again, it's
worth it.
The record attacks gradually. The first song, Way Down
South starts low and slow and
finishes fast and ecstatic and
wonderfully nasty, sharing
with the other tracks the
rough polished power of restrained distortion. Android
(guitar, vocals) snarls out
some appropriate words in a
smoothly duttural voice that is
slightly incongruous with his
normal speaking voice. It's
often hard to match Andrew
with his vocals as his musical
growling seems as if it could
only belt out ot the dim
recesses of a wealthy pair of
primal, ghetto lungs. Beneath
the lyrics is the percussion
that holds it all together
without lapsing into repetitious beating or wandering
into mindless confusion. No,
the drumming of Gymnasius
is exactly that: a drumming
that threatens and thumps
and rattles your windows,
cymbals hissing with precise
emphasis. The thrumming
bass was wielded by Grog
Graham. Guitars happen
under the fingers of Android
and Embo-utl. They happen to
be very effective.
A few thousand cups of
coffee ago, after Patriot was
recorded, HOC changed bass
players. The next tims House
of Commons takes shape on
stage there will be a new face
grinning over four strings.
Word from Andrew is that this
is John Frymire. Look out.
The picket lines came between
us and any words on the new
configuration as the UBC Remembrance Day show was
cancelled when all bands re
fused to be politically unaware. First things first,
The record: the HOC fans in
Vcitoria and Vancouver, it's
about fucking time. The band
has been afflicted with geographical difficulties - some
members in Van., some across
the water on the island. On a
day unjustly not recorded in
history books, the group assembled in Vancouver to record, and the product ... oh
shit, just listen to it! If you're
into labels, this is not a
hardcore love song EP; this is
alternative music.
Listen to Way Down South,
to Institution, to American
Patriot, listen to House of
Or don't, you can always
suffer in silence.
So escape from whatever
smoke-filled opium den, video
arcade, concrete closet of
hollow log that you inhabit
and score this HOC stuff. If
you're broke, well, you can
hear House of Commons on
words by    SI
spasms by TK
The Rockers Show
Reggae and Rockers have
the same meaning which was
taken from the movie Rockers
Reggae music is coming out
from Jamaica "seen I." When
you talk about raggae you
have to know the language of
the mosic itself. You will
listen to a reggae record and
not understand what the singer is saying, but you will still
like the music. Doing The
Rockers Show on Sunday at
twelve forty-five to three p.m.
is an "trie" thing to do.
To prepare for the program,
what I have to do is to select
some records from my collection during the week and play
them at home first then on
Sunday I will go to the station
and do my thing. CITR has
some raggae in their record
library, but not much. Since I
have been doing the show,
more reggae records haved
been showing up in the library
and I am very pleased to see
that because it helps me out.
Reggae records are very expensive, but I have to buy
them for my sound system
which is called "Wa-Da-Da-
Hi-Fi", (peace and love in
Ethiopian), so when I buy the
records I play them at the
station too.
Reggae, Rock-Steady, Ska,
and Rockers is my roots
music. One thing that I must
point out is that reggae music
plays a very large rolel in my
family. If you are a reggae
fan, you must know Aston
Family Barrett and Carlton
Barrett, they are my cousins.
They are both from the Wailer
Band that used to back up Bob
Before the rockers started
on CITR, the station played
reggae everyday. They even
had reggae on their play list.
page 6
One of the features on the
show is the Mini Concert,
which just features one band
for forty-five minutes. To me
this is a good way for the
listeners to become familiar
with all the different artists.
The Rocker Show also does a
large number of interviews
with various artists while they
are in Vancouver performing a
concert. They often come over
to the station and the interview will be broadcasted live.
Reggae comes in all different forms, you have Dub-
instrumental, no vocalistsl,
Rockers-the hard driven force
of reggae, and Roots-Rock
which means the music from
Jamaica also known as Yard.
The Itations of Jamaica and
Rastafari play a large part in
reggae music. Bob Marley,
Peter Tosh, Burning Spear,
and Bunny Wailer are some
examples of what makes
reggae so special.
To understand the Reggae
lyrics, here are some words
and their meanings: Patois/
Jamaican Dialect, Afrikan-
African, Idren-Bretheren,
lyawata-Daughter, Ikel-Mi-
chael, Izabeth-Elizabeth,
Iserve-observe, foriver-for-
ever, iringe-orange, imoto-
tomato, iper-pepper, inana-
banana, iwa-hour, beast-po-
live, Bhinghiman-affectionate
term for the Niyabinghi Rastafari, blind-sinfull, crown-hat
or tuke, dreadnut-cocanut,
dread-the state of fearlessness, Down Pressor-an oppressor, dedders-meat, gates-
home, Groundation-the Niya-
ghinghi celebration, hail-greetings, first light-in reference
to tomorrow, agreement,
sight-do you see. I hope these
words can help the reader to
understand the language of
Reggae and Rastafari, for it is
the language which creates
the music.
When I am doing the show,
people call the station and
they ask for information on
where I get my records. I just
tell them that in Vancouver it
is difficult to buy Reggae
records, so I have to go to the
record store and order them,
import my records from England, Jamaica, and U.S.A. As
a Reggae D.J., I wrote to a
few record distributors and
they put me on their mailing
lists, so when a new record
comes out I am able to get it
right away.
lusic is an inter
national music. In London
England, Jamaica, New York,
Toronto, and more European
countries are quite familiar
with Reggae music. Quite
few people ask whyreggae
music is not popular in Vancouver. For Reggae to be
more popular in Vancouver,
the media has to get more
involved in the music. Reggae
does not get good promotion
in Vancouver and only noncommercial stations play the
music. Places where you can
hearreggae are on CITR, Sunday mornings, one zero two
f.m. cable one undred, from
twelve forty-five to three p.m.
and CFRO one zero two point
seven f.m. cable one zero four
point nine on Saturday from
six to seven thirty p.m. You
can go tofast Eddies Disco on
Monday nights which is in
North Vancouver and Clementines Disco on Wednesday
nights too.
The Carribean Community
has been playing Reggae at
their social dances for years
now. One positive note I
would like to say is that
Rdggae is here to stay, so tune
h to I and I.
-George Barrett
Monday to Friday
A healthy ingestion of news, sports, and weather five times
each day.
Wakeup Report (8 a.m.)
Morning Newsbreak (10 a.m.)
Lunch Report (1 p.m.)
Afternoon Newsbreak (3:30 p.m.)
Afternoon Sportsbreak (4:30 p.m.)
Dinner Report (6 p.m.)
SPORTS (8 p.m., 10 p.m., 1 p.m., 4:30 p.m., 6 p.m.)
As well as regular sportscasts CITR features live play-by-play
broadcasts of  Thunderbird   football,   hockey  and   backetball
games. Birds Eye View, UBC Sports special will now include
Thunderbird Profiles.
GENERIC REVIEW (8:35 a.m., 5:35 p.m.)
An analysis of various forms of entertainment in Vancouver.
INSIGHT (6:13 p.m.)
A CITR editorial on any and every contemporary issue. Heard
nightly after the Dinner Report.
AT UBC (7:30 a.m., 11:50 a.m., 4 p.m., 6:40 p.m.)
A UBC calendar of events heard four times daily.
An hour focus on musicians and bands which have surfaced
and, at many times, stayed on the CITR Playlist past, present,
and maybe even future. (See box for nightly features.)
FINAL VINYL (11 p.m.)
Each night one complete album is featured. (See box for nightly
THE FOLK SHOW (10 a.m. - 12 p.m.)
Mostly traditional folk music.
CITR PLAYLIST SHOW (3 p.m. - 6 p.m.)
Countdown of selected music from CITR's weekly album and
singles playlist.
SATURDAY MAGAZINE (6 p.m. - 6:30 p.m.)
News, sports, a summary of the week's Generic Reviews, and
surprise features.
MUSIC OF OUR TIME (8:30 a.m. - 12:15 p.m.)
Classical 20th century music.
4   December  Hanukkah        Program;
VNMS   Ethnic   Music
Concert #3 Preview:
East Indian classical
11   December  -   Elliot   Carter's   75th
Birthday Celebration
18 December - Pot Luck ...?
25 December - Christmas Program
SUNDAY BRUNCH (12:15 p.m. - 12:45 p.m.)
Showcase of literary works in poetry and prose.
ROCKERS SHOW (12:45 p.m. - 3 p.m.)
Reggae music from Jamaica and other areas.
RABBLE WITHOUT A PAUSE (3 p.m. - 6 p.m.)
Unusual,   unpredictable,   and   unconventional   describe   this
music show mixed with theoretical and practical banter.
ISUNDAY MAGAZINE (6 p.m. - 6:20 p.m.)
Wrap up of the weekend's news and sports as well as a Generic
FAST FORWARD (9:30 p.m. - 1 a.m.)
CITR's music alternative to our regular music programming.
THE JAZZ SHOW (9:30 p.m. - 1 a.m.)
An eclectic mix of musical jazz forms.
DISCORDER does not exist in
an ivory tower - we welcome
you to join us in this exercise
manipulation    through
media.  If you consider yourself to be a writer, a cartoon-
st, a photographer, a graph
artist   or   just   a   dilettante,
DISCORDER encourages you ^
to contribute to our monthly fMWUmUmUmBMwSMmUmKKM
publication, we will consider articles of up to 1,000 words
~|HHH| on anv topic in the realm of
H music, art, fashion, politics, or
mm philosophical inquiry, and any
H cartoons, photographs, bad
Wm jokes and graphic art — post it
■ to the EDITOR OF — DIS-
JjCORDER, 6138 Sub Blvd.,
Wk Vancouver V6T 2A5 or ring
§■228-3017 for more details if
^HraH the need be.
ite, j
hly ■■ IPt&yi&m 7eatUft€4>
Every weekday morning at 9:00 a.m.
A community access program providing a forum for human
rights issues of concern to Amnesty International.
Presenting authoritative speakers confronting issues of public
Offering highlights of talks given locally by various speakers.
Addressing issues related to global peace and justice.
Featuring interviews with international and local artists,  no
matter what the art form.
Thurs., Dec. 1 - Strategies for Stopping the Arms Race
Fri., Dec. 2 - King Sunny Ade
Tues., Dec. 6 - Facing the Two-Fold World Crisis with Helmut
Schmidt, former chancellor of West Germany
Wed., Dec. 7 - The Forgotten Party: The Victim of Crime with
Supreme Court of Canada justice Brian Dickson
Thurs., Dec. 8 - Violence vs. Non-Violence in Social Activism
Fri., Dec. 9 - Evelyn Roth - Anthro-ethno conduit
Mon., Dec. 12 - AMNESTY ACTION
Tues., Dec. 13 - Feminism and Democracy: You Can't Have
One  Without  the  Other  with   Gloria  Steinem, sfeminist
editor of Ms. magazine
Wed., Dec. 14 - Human Right and Fundamental Freedom with
former B.C. Supreme Court justice Thomas Berger
Thurs., Dec. 15 - If You Love This Planet - with Dr. Helen
Caldicott, head of Physicians for Social Responsibility
Fri., Dec. 16 - Profile of a local artist
Mon., Dec. 19 - AMNESTY ACTION
Tues., Dec. 20 - Is Higher Education Failing Humanity? Part
One with internationally celebrated architect, designer and
educator Buckminster Fuller
Wed., Dec. 21 - Education Under Siege: Academic Freedom
and the Cult of Efficiency with UBC president George
Thurs., Dec. 22 - The Superpowers According to Caldicott with
Dr. Helen Caldicott, who spoke at UBC this past summer
Fri., Dec. 23 - Another profile of a local artist
Mon., Dec. 26 - AMNESTY ACTION
Tues., Dec. 27 - Is Higher Education Failing Humanity? Part
Two with Buckminster Fuller
Wed., Dec. 28 - Canada/U.S.A.: Speakout on Life with Uncle
highlights of a forum held at U.B.C.
Thurs., Dec. 29 - Nuclear Nightmare: The Reality of Being Hit
by The Bomb - Dr. Helen Caldicott describes what would
happen if Vancouver was hit by a nuclear bomb
Fri., Dec. 30- XTC
11:00 p.m.
December   4 - BILL LASWELL Baselines
December 11 - DER PLAN Die Letzte Rache
December 18 - CH ANTON NOELS
December 25 - RECOMMENDED RECORDS Sampler
December  9 - JAMES BROWN'S Greatest Hits
Stone Killers
December 23 - VARIOUS ARTISTS Tamla Motown is Hot
December 30 - PARLIAMENT Mothership Connection
MONDAY              TUESDAY          WEDNESDAY
'    1
9an,       I
OF             1
,0«n    ;
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2 pm
....     ■     -        |      .   ■■    "    ■■■■"■
•■■'   ■-■
7 pm
j          FINAL
VINYL"           |          vinOl          I          v'.NVL           |          SSSt
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CITR-FM 102 Cable 100                     i —-i ctrs
HIGH PROFILES FOR NOVEMBER - Mon. to Sat. at 8 p.m.
Thurs   1
Fri        2
Music From Kenya
Sat      3
Batcave Schlock
Mon     5
Aretha Franklin
Tues    6
The Monkees
Wed    7
The Creatures/The Glove
Thurs 8
Fri       9
Twinkle Brothers
Sat     10
Neglected Nina Hagen
Mon     12
Fab T-Birds
Tues    13
Jo Callis
Wed    14
Aztec Camera/The Bluebells
Thurs 15
Monochrome Set
Fri     16
Mighty Diamonds
Sat     17
Residents Part II
Mon   19
Jacki Wilson
Tues 20
Bonzo Dog Doo Dah Band
Wed 21
California Psychedelia Part I
Thurs 22
Fri     23
Christmas Special
Sat     24
Mon   26
Sam Cooke
Tues 27
60's Garage Rock/Psychedelia
Wed 28
California Psychedelia Part II
Thurs 29
Young Marble Giants
Fri     30
Obscure Australian Music
Sat     31
Vancouver now has an outlet for hard to find independent/mailorder
records and cassettes. Clas carries releases by Surplus Stock (Dance
Ersatz), Peter Frohmader, Intence, Datenverarbeitung cassettes (Sinn
and Form, Cultural Am Nesia, etc.), Melodic Energy Commission Walt
Ohama, U.S. Compilations: L.A. Mantra and Onslaught. Clas is just
beginning and promises to become one of the most comprehensive
obscure music outlets in Western Canada. For a catalogue listing these
and many more releases send a 32 cent stamp to
ClasDist     c/o P.O. Box 86010    North Vancouver    British Columbia    V7L4J5
Featuring a large selection of great imported
records at the lowest prices in town!
1869 WEST 4th AVE.
As well, all the latest domestic releases
plus lots of used albums, too.
Merry Xmas


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