DftcORDER VOL 1 NO 11 ¥A guide to CITR tm 102 5^ CABLE 100 DECEMBER 1983 GANG OF 4 ENIGMAS Latest from X, THE CRAMPS, DER PLAN ^A guide to CITR fm 102 '-' CABLE 100 STRIKE! PURGE! MONEY! 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 it." The air of despondency thickens. "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 pickets? "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 shoes. 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 instead. 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 equality." 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 EDITOR Michael Shea LAYOUT Bill Mullan Michael Shea ADVERTISING Harry Hertscheg DISTRIBUTION Harry Herts Vijay Sondhi REVIEWS Chris Dafoe CONTRIBUTORS Sukhvinder Johal Steve Robertson Rob Simms Mark Mushet Dean Pel key Terry Orr Jason Grant George Barrett LETTERS TO THE AIRHEAD CITR-UBC RADIO 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 throughout the Vancouver area at over 130 locations. If you would like to distribute free copies of DISCORDER at your place of business or if you are interested in obtaining any information about advertising in DISCORDER, contact Harry Hertscheg at 228-3017. General business enquiries concerning CITR or information about renting the CITR Mobile Sound System is also available at 228-3017. The request line is 228-2487 or 228-CITR. Duthie Books Gandydancer Point Grey Kelly's Records Luv-A-Fair Charles Bogle Phonograph Dispensary Odyssey Import Records Duthie Books Railway Club Frank's Records Towne Cinema University Pharmacy Vancouver Ticket Centre Video Stop The Video Store Gastown Kitsilano Black Swan Records Broadway Video & Sound Deluxe Junk Hollywood Theatre Natural Foods Octopus Books Ridge Theatre Scorpio Records Soft Rock Cate Videomatica Zulu Records West End The Bay Theatre Benjamin's Funky Cafe Benjamin's II Camfari's Denman Market Downtown Disc Distributors English Bay Books Manhattan Books Meli t Rent-a-Record Rentertaini Downtown A&A Records Arts Club on Seymour Black Market Collectors RPM Records Concert Box Offices 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 -Ed. 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 truth? 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 Cabbages & Kinx Deluxe Junk Golden Era Clothing Lux Theatre Smilin' Buddha Cabaret Ya-Ya's East Side/South Vancouver A&B Sound - Car Stereo Collectors RPM Records Highlife Records Kelly's Records Memory Lane Records Roxy Theatre Savoy Cinema Treacher's Records Vancouver East Cinema Vancouver East Cultural Centre Western Front North Shore A&A Records Kelly's Records Rave Records Sam the Record Man DISCORDER is also distributed throughout the UBC campus and other Lower Mainland campuses, as well as various community centres and Vancouver public libraries. Yours, 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 THE WORLD AS WE KNOW 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- ment? Yours Sincerely, Brill Spriggs (no relation) Vancouver, B.C. I think you should buy me something to make you feel better 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 though. No bomb this time, I'd just like to know why CITR DJ's talk in such monotome voices. Are they androids or lobotomy patients? Yes. -Ed. 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 that." 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 months. But What About? 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. Where's the Other Half ... Right here. Randy Bowman on drums provides a steady, jack-hammer beat, tastefully laced with fills not unlike bursts of machine gun fire. 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. It All Started When ... 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 Cam 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! Over the past year, the 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 (A.O.H./U.S.) 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 Doe. 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 mood. 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 DER PLAN 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 themes. 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 (Breathless). 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 QfReport THE MOST PLAYED ARTIST(s) on citr during november were: 1 •*•> liii ": ■■"■ ''"'::* THIS MONTHLY PLAYLIST IS DESIGNED TO GIVE YOU, AND US, A BETTER IDEA AS TO WHAT IS REALLY GOING OVER AT CITR. COMPILED BY JASON GRANT 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^^ I THE CRAMPS Smell of Female (Enigma/U.S.) mm 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. --SEWER ALLIGATOR OlReport FAST FORWARD PICKS TA CLICK ■ Mushet compiled by Mark DIE FORM Exicisions BILL LASWELL Baselines DER PLAN Die Letzte Rache FRED FRITH/CHRIS CUTLER Live in Prague PORT SAID Crossings WILL SARGEANT Themes from "Grind" UN I VERS ZERO Crawling Wind HUMAN FLESH Third Human Attempt LEGENDARY PINK DOTS Basilik VARIOUS ARTISTS Red Night JAZZ BEAT - compiled by Fiona MacKay/Bob Kerr/Shelley Freed man HERBIE HANCOCK Future Shock BILL LASWELL Baselines YOUNG LIONS Young Lions ORGAN Organ GLOBE UNITY ORCHESTRA Into the Valley SONNY RAWLINS Newk's Time DEREK BAILEY & TRISTAN HOUSINGER Duo BILLIE HOLLIDAY & ELLA FITZGERALD Live at Newport ANTHONY WILLIAMS Spring JAMES WHITE'S Flaming Demonics ROCKERS' SHOW PLAYLIST - compiled by George Barrett PETER TOSH Mama Africa BURNING SPEAR Fittest of the Fittest BUNNY WAILER Boderation BLACK UHURU Party Next Door SUGAR MINOTT Suffere's Choice UB 40 Labour of Love THIRD WORLD Love is Out to Get You ESSO "ZEE" JACKSON My Baby Medley 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". EDMONTON COMPILATION (Rubber) 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 sound. As for Route 66, all I can say is that they sue . Syrupy, redundant, childish and boring are words that come to mind. 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 2i 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 ONLY ? MORE SHOPPING DAYS 'TIL X-MAS! 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 X-MAS GIFT, 6138 SUB BOULEVARD , VANCOUVER V6T2A5. page 5 HOUSE OF COMMONS Patriot TRACKS: side 1: Way Down South Low Gotta Be Alive 1999 side 2: American Patriot Institution Live For Today - a new version of Colwood RCMP) 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, right? 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 Commons. 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 CITR. 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 Marley. 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 NEWS DIET 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. HIGH PROFILE (8 p.m.) 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 features.) Saturday 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. Sunday 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. Monday THE JAZZ SHOW (9:30 p.m. - 1 a.m.) An eclectic mix of musical jazz forms. ATTENTION ALL ASPIRING ARTISTES 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. gn ur-j on hie ite, j /ou hly ■■ IPt&yi&m 7eatUft€4> PUBLIC AFFAIRS Every weekday morning at 9:00 a.m. MONDAYS ... AMNESTY ACTION A community access program providing a forum for human rights issues of concern to Amnesty International. TUESDAYS ... CAMBRIDGE FORUM Presenting authoritative speakers confronting issues of public concern. WEDNESDAYS ... SPEAKER'S CHOICE Offering highlights of talks given locally by various speakers. THURSDAYS ... COUNTER FORCE Addressing issues related to global peace and justice. FRIDAYS ... ARTISTS ONLY 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 Mon., Dec. 5 - AMNESTY ACTION 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 Pedersen 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 FINAL VINYL 11:00 p.m. SUNDAY NIGHT NEGLECTED AND/OR OBSCURE ALBUM with MARK MUSHET December 4 - BILL LASWELL Baselines December 11 - DER PLAN Die Letzte Rache December 18 - CH ANTON NOELS December 25 - RECOMMENDED RECORDS Sampler FRIDAY NIGHT FUNK - STEPPIN' OUT with NIGEL BEST December 9 - JAMES BROWN'S Greatest Hits December 16 - PRINCE CHARLES & THE CITY BEAT BAND Stone Killers December 23 - VARIOUS ARTISTS Tamla Motown is Hot December 30 - PARLIAMENT Mothership Connection '■" SUNDAY MONDAY TUESDAY WEDNESDAY FRIDAY SATURDAY r^r^^i ' 1 9an, I MUSIC PUBLIC AFFAIRS OF 1 J ——I ,0«n ; : L—^^ 1 S£ ■J.UND.B I f I OUR TIME Noon IrSSch THE REGGAE 1pm 2 pm 3Pm WITHOUT A PAUSE CITR ,pm Spm Spm JMl^ .... ■ - | . ■■ " ■■■■"■ •■■' ■-■ 7 pm Spm ^IGhV HIGH PROFILE HIGH PROFILE HIGH PROFILE H,GHPR0F,LE H,GHPROFILE 9pm THE 10pm FORWARD JAZZ ,1pm j FINAL VINYL" | vinOl I v'.NVL | SSSt FAST , FORWARD JAZZ CONT'D Midnight 1. ; ■ IM ^ L CITR-FM 102 Cable 100 i —-i ctrs J HIGH PROFILES FOR NOVEMBER - Mon. to Sat. at 8 p.m. Thurs 1 Malaria 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 Minutemen 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 Magazine Fri 23 Christmas Special Sat 24 X-MAS GIFT PLAYLIST 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 NEW YEAR'S SPECIAL CONTACT UST OF ELECTRONIC MUSIC AND ALIEN SOUNDTRACK DISTRIBUTION 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 ADVERTISE DISCORDER Featuring a large selection of great imported records at the lowest prices in town! ZULU 1869 WEST 4th AVE. VANCOUVER, B.C. 738-32321 As well, all the latest domestic releases plus lots of used albums, too. Merry Xmas
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Discorder CITR-FM (Radio station : Vancouver, B.C.) 1983-12-01
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Title | Discorder |
Creator |
CITR-FM (Radio station : Vancouver, B.C.) |
Publisher | Vancouver : Student Radio Society of the University of British Columbia |
Date Issued | 1983-12-01 |
Extent | 9 pages |
Subject |
Rock music--Periodicals |
Genre |
Periodicals |
Type |
Text |
FileFormat | application/pdf |
Language | English |
Identifier | ML3533.8 D472 ML3533_8_D472_1983_12 |
Collection |
Discorder |
Source | Original Format: Student Radio Society of University of British Columbia |
Date Available | 2015-03-11 |
Provider | Vancouver : University of British Columbia Library |
Rights | Images provided for research and reference use only. Permission to publish, copy, or otherwise use these recordings must be obtained from CiTR-FM: http://www.citr.ca |
CatalogueRecord | http://resolve.library.ubc.ca/cgi-bin/catsearch?bid=1190017 |
AIPUUID | 7ad166d0-e23a-4c83-b09a-e9841d478f38 |
DOI | 10.14288/1.0049788 |
AggregatedSourceRepository | CONTENTdm |
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