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 ANNIVERSARY ISSUE!
DfficORDER
¥A guide to CITR fm 102
j^v-  -*- CABLE10O DiScORDER
AFTER FIRST YEAR ON FM
¥A guide to CITR fm 102
*~* pari Finn
CITR SHIP STILL AFLOAT
The CITR survey (p. 3) is not
intended to support the claim
that Canadians are the most
surveyed people on the planet.
Rather, it's the means by which
you can help CITR carve future
paths along the radio frontier.
Where the station goes reflects
where it stands. But before it
blazes new trails, its members
need to know how strong the
foundation is. That's where you
come in.
The survey is part of CITR's
first anniversary celebration
since going low power FM. The
Student Radio Society of UBC
fittingly flicked on the switch to,
its FM 101.9 frequency on
April Fool's Day last year. For
the first time ever, UBC Radio
was legitimately on the air.
The past year has been one of
keeping the ship afloat. "There
were leaks then and there are
leaks now," says outgoing
CITR president Jeff (No. 1)
Kearney. "In the first year it's
always easy for organizations
of our kind to lose touch with
what they're supposed to be
doing. Perhaps they get over
their heads a bit and then
disaster occurs, but that hi
happened to us. We're still 1
stable."
But keeping the ship aflc
doesn't necessarily mear
going at a good clip. "Since wel
got the FM license, we've
maintained the same speed
while the rest of the industry
here has speeded up,"
incoming president Steve
Robertson says. "Once of the
major objectives over the next
year will be to re-establish CITR
as true ground breakers.
Hopefully we'll have resumed
our place in the Vancouver
local music scene as the radio
station that is two steps ahead
of the other stations, rather
than just one."
In order to stay ahead one
must know what the rest are up
to. "The major industry papers
out of New York have stated
that major FM stations, such as
the superstar stations, will be
adding 80% new music,"
explains music director Noel
Baker. "Canada can expect a
40% increase in new music
additions to major playlists so
that many things CITR plays
will become very normal
programming in commercial
radio."
Baker doesn't expect this
"explosion" in Canada to make
things any more difficult for the
station. "CITR will still be in the
forefront of all that because
there's always a lot of intereting
things happening to keep us
ahead of the game," he says.
"There are always artists who
are on the fringes and ahead of
those who are always getting
the major airplay."
The direction the industry is
taking should help the local
music scene in Vancouver,
according to Baker. "We'll see
an upsurge as more local bands
finally get some sort of
commercial success, which in
the past was denied to them
because of their not wanting to
compromise certain artistic
ideals."
Having a radically different
outlook is program director
Chris Dafoe. "Programming is
going to reflect my tastes," he
says. "I'm going to throw
everybody off the air and do it
all myself. We're going to go
country and western.
"But seriously, the music will
continue to reflect the tastes of
the people who work at. the
station, as well' as the
community of which they are
part."
puses," remarks news director
Harry Hertscheg. "Later this
year we'll be establishing
student   correspondents   at
SFU, UVic and such local
colleges as Capilano, Langara,
etc.
"We're trying to emphasize
stories rel ati n g to students of al I
ages, education of all kinds,
research of all types, local
community news and all that
interesting social-political-
economic-cultural stuff."
As society becomes more
educated the trend in news wilt
be away from the muckraking
and sensational events oriented
stories that dominate the air
waves today, according to
Hertscheg. "There's way too
much emphasis on the latest
fatality highlights. A greater
profile should be put on news
from which you can learn.
'Which information is more
important, what happened in
_ war todaybr what Man learned
about war today?" takes ;
The sports department has its      We   si
CITR's play-by-play coverage is beginning to expand
beyond just university sports.
"We recently broadcast the
B.C. boys double-A basketball
championship final from the
Agrodome and it even looks
promising for us to go to
Bermuda to cover a pre-
Olympic soccer match," he
says ^^^
Although CITR's public
affairs programming hasn't had
the illustrious year sports has
had, the fifteen minute spoken
word features in the morning
have improved over the years.
welt
getting more information
across to people! "We have an
ahour set aside per week that
groups can use to get across to
the general public," says Dafoe.
"Two hours a week are set aside
other collage and post-
secondary educatiqqjinstitutes
iSuch as SFU, CapLgHJIJPollec
jngara, etc.
ance at playin<
f\\ also be ex)
4 a.m. se®
week'^kj. There's n
go frorn^p^e, but U$
A way-ay...
The news department also
has plans for collaborating with
other post-secondary
tions. "Since CITR is Grel
Vancouver's only full-fledged
FM student radio station, it's
important that the CITR news
diet reflects the tastes and
concerns   of   all   local   cam-
goals, too. "We're trying to
focus on amateur sport
because the professiona1
sports scene in Vancouver is
quite extensively covered, and
therefore, some of the other
sports don't really get the
□ they d^^
~ wart.
fitly
thur
I at UBC's Big
■ in recog-
jtstanding
Sution to UBC athletics.
Combined total of seventeen
Thunderbirds football, basketball and hockey games were
broadcast, including live
coverage of the Atlantic Bowl
national football semi-final
from   Halifax.   "The  Award
before, and it will also give
added interest to the UBC
athletics program," Stewart
believes.
%tt they're still in th#5
development phase. "They're
hard tOKJo," says public affairs
director Rob Simms. "It takes a
lot of effort, energy and time to
do those type of shows.
"People have to be really into
it to want to doit. To be a really
good, thorough interviewer it
kes a certain amount of skill,
. .trive to be reasonable.
analytical, non-partisan and
political, while presenting a
wide range of views. People
need to be informed and
preferably not in a condescending mannerthat is so prevalent
amongst major media types."
Since CITR's studeni
members also have to spendj
certain amount of time doj
school work, the station
always in need
members. "It "takes
people to run thju^PTace,"
newly-elected preoiMfit. Steve
Robertson says^jp^ave to be
far more orqa^Paso that we
can morejjprctively channel
those^Mpple to be more
nn such key areas as
jction, public service
"announcements, promotions
and public affairs."
More training for the deejays
and news people is another
aspect that needs to be stressed
in an effort to improve on air
quality, according to newly-
elected vice president
Jennifer Fahrni. "We need to
improve our delivery and be
less sloppy," she says. "Now
that we've been FM for a year,
we have more obligations than
when we were just on cable
FM."
A major obligation is meeting
Canadian Radio and Television
Commission (CRTC) regulations. However, recent changes
to programming regulations
will allow FM stations to repeat
songs more often as well as
permit campus and community
■stations to advertise more
Vweely in order to better secure
funding But that will not likely
affect CITR, according to
station manager Sonia Mysko.
"There's no need to be
concerned about broadening
advertising policies because we
don't advertise on air," Mysko
says. And we don't want to
increase the number of times
we play a song to more than
once a day."
■ysko is CITR's only paid
nember. As a result, she
to deal with unruly
dunteer types every day. "One
^as to feel very much part of the
peers," she says. "It's important
for me to keep a fairly high
profile because once it
stagnates, then there's less
incentive for volunteers to get
excited.
"One thing that's a problem in
commercial radio — as it is with
any sort of paying job — is that
many people are in any given
industry because they know
they're getting their pay
cheque."
While CITR's student
volunteers make up the rank
and file, the station's alumni
can   be  expected  to  play  an
"Survey" p. 3
MELODY
PIMPS
SHELLOUT
Opening act for one of the
City's hottest shows so far this
year, the Melody Pimps played
'em their way at Sub Ballroom,
March 4. Show featuring the
Pimps along with The Scissors
and Rank and File was a s(h)ell
out!
photo - Kevin Fleming DISCORDER    April 1983
CffitDiSfcOimER
fflllOS Cable 100
Contributors
Rick Anderson
Chris Dafoe
Harry Hertscheg
Werner Janke
Mike Johal
Mike Klassen
Dean Pelkey
Steve Robertson
Paris Simons
Ian Warren
Editors:
Jennifer Fahrni
Mike Mines
Features Editor:
Michael Shea
Reviews Editor:
Jeff Kearney
Printing:
Web Press Graphics Ltd.
Distribution Manager
Harry Hertscheg
BLACK SWAN is one of the city's origin;
shops. Initially specializing in jazz, folk and blues, the fc
expanded providing a carefully selected, yet diverse
representation of current domestic and imported rock, electronic,
20th Century classical and ethnic music streams.
A generous exchange program enables us to present one of the
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2936 W. 4th Ave.
734-2828
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._ 4510 W.  10th Ave.    Vancouver,  B.C.
Tel: 228-9512-3
FREE DELIVERY
MOBILE SOUND
•We spin to suit*
LOW RATES 228-3017
Dear Airheads and
Space Cadets:
Here I am writing again to
voice my disapproval of the
selection of hands for the
Tribute to West Coast Music.
Whatever happened to the West
Coast bands that have been
slugging it out in Vancouver for
several years. DOA, 54-40,
Modernettes, Actionauts, Los
Popularos, Redrum, Maurice
and the Cliches, Corsage,
Braineaters, E, Beverly Sisters,
Buddy Selfish — to name a few.
We the listeners, should take
direct action and continue to
boycott the heavy metal
maniacs that dominate this
year's ballot (who listens to the
Pinheads, anyways?)
CITR should get together
with Bud Luxford and the artists
I have listed above. Then if you
could get them all together in
one place (say Thunderbird
Stadium) have a great big pat
on the back party (you all
deserve it). Have a party, but
not for the cause that Terry
Quinn is set on. Esperanto is
not the universal language as
Mr. Quinn stated in his press
release. There is only one
language that is universal. It
has been in every culture since
the beginning of time. Mainly...
...MUSIC.
Thanks for listening;
Struan
THE RANK and FILE
Austin Texas "best country band of '82" appeared at UBC's
SUB Ballroom March 4 and brought along enough energy
to have the capacity crowd bouncing ofl the walls by nights
end. At the edge of country music's frontier, this is a band to
Dear Airhead:
You finally have a good LP in
your neglected LP feature
Surfin with the Astronauts, but
your little write has many historical errors. First, the
Astronauts were not a Denver
based group, they were a
Boulder, Col. based group.
Boulder, home of such groups
as the Moonrakers and the
Survivors, was Colorado's rock
scene. Second, the band was
hardly just an instrumental
group. Of the LP's I have by
them (seven LP's) only ten
songs are instrumental, all the
rest are vocal. Even the featured
LP has four vocal tracks, third,
The Surfin with the Atronauts
LP came out in 1963 not 1964.
The back sleeve of the album
even says right on it, copyright
1963. Fourth, to say that their
first LP is the best is a very
subjective statement. To
retaliate, here's an equally
subjective statement, that the
fourth LP Astronauts Orbil
Kampus (A-OK) istheirbestLP.
It's a classic early style (1964) of
dance/garage/punk rock ad
dance/garage/punk rock and
their second LP (Everything is
A-OK) and their seventh (Down
the Line) LP their attempt to rip
off the British Invasion (on '65
LP) tie for quality with their first
LP. Although I do agree that
they have the best versions of
Miserlov and Pipeline.
Yours Astronautically,
I Hillender Protozoan
Enzymology 6
Dear Mr. Airhead,
How are your molecules; not
receiving too much oxygen I
hope. I'm writing in regard to
our supposedly "improving
economy." If we relate music to
life situations, then presently
we are not coming out of this
slump as our government
would have us believe. As
opposed to let's say 1 !4 years
ago then, I would have to say
music is more bleak than ever.
There are a few bands around
that tell the truth. We did have
the Cure and Theatre of Hate
but alas they are now defunct.
Tell me, who is going to speak
out now? Most of what you have
been playing lately is pure
rubbish;   Bedtime  for   Bonzo,
etc Surely you can do better
than that. Anyway I hope this is
just temporary because like I
say, if your music reflects the
current theme then all I can say
is "What a load of bollocks."
I'm right    C.
Speaking for my own oxy-
gorged molecules, I hope that
the demise of bands like T.O.H.
and the Cure, whose last album
was a lifeless, self-indulgent
drone, signals a resurgence of
the energy that has been
lacking in a music scene
dominated by the post-Joy
Division bands. Melancholia ad
nauseum. Perhaps you should
get out more, pasty-face.
-Ed.
Hi Airhead,
I wanted to drop a line and let
you know I enjoyed the layout
and articles in the March issue
of Discorder. I got a copy at
A&A as I was feeding my vinyl
habit. Dean Pelkey's review of
the   Eurythmics   was  great	
and CITR's signal from high
atop the Student Towers is a
welcome relief to the "status
quo" playlist of other stations in
the area. My only beef is that it
doesn't reach far enuf south! A
big POTB for CITR.
I also thought I should
mention Airheads Anonymous
— where Airheads can help
each other. Are you a member
yet? You have to be a bona fide
"vinyl junkie" to get a
membership.
Oh well....I hope everyone
voted for Video Veggie by The
Scam for Single of the Year. It
sure beats workin' for the
weekend! If the Day-Glo
Abortions win Group of the
Year, I expect Chris Dafoe to
form the band and cut a disc.
Personally, I voted for Dik
Regrett & the Amazing Ray
Guns as Club Act of the Year. I
saw them at the Rock Box and
their original techno-pop was
superb.
Keep on discording,
Red Squirrel Flying/
Rowdy Puppy Records
Blaine, WA.
United Snakes of America
Dear Ms. Airhead and H.R.H.;
Hi, how are you, I'm o.k.; I
guess. So your Majesty, how
did you like Vancouver? I never
heard you say thanks in public
so I was just wondering. I mean
we did go to a lot of trouble for
you. Like we did clean the.
ocean and replace a carpet and
kill flowers and make 7,000 kids
miss school. Not to mention all
the advertising time missed on
our advanced TeeVee system. I
just can't recall you ever saying
thank you personally even in
the speech to open B.C. place
you didn't write. Anyways, your
welcome.
PS. Do our taxes pay for all of
this pompous B.S.?
Signed;
A British Citizen
My   husband   and   I   had   a
marvelous time. Thank you for
cleaning your ocean. It looked
very blue indeed.
-H.R.H.
Hey, where's my question?
-Another cruelly neglected Ed.
page 2
NHSw
f2>AC*0
S. WRITE    i\j/|U
THEAIRHEAD     /l^
&WIN! CITR LISTENER'S SURVEY
4. At what frequency do you listen to CITR?    101.9 FM_
5. How often do you listen to CITR?
5.    Do you have any problems picking up CITR's signal on the
7.    If so, explain	
8.    What aspects of CITR do you like? (Please check)
Music News Sports Public Affairs Generic Review Folk Show_
Music of our Time Fast Forward Random Radio Sunday Brunch	
Rabble Without a Pause Mini-Concerts  Public Service Announcements	
Final Vinyl Jazz Show   No commercials^.
9    What aspects of CITR do you not like? (Please check)
Music News Sports Public affairs Folk Show Rabble Without a Pause
Generic Review Reggae Show Fast Forward Random Radio Final Vinyl —
Sunday Brunch Music of our Time Jazz Show Public Service Ai
No commercials Mini-Concerts	
0. Are you a UBC student?    yes  no	
1. Are you a student elsewhere?    yes     no	
2. If so, at which institution? 	
it changes or improvements would you li
(Attach additional comments if necessary)
PLEASE CLIP THIS SURVEY AND MAIL TO:
CITR.
University of B.C.
B.C. V6T1A5 or drop by Room 233 of SUB. Thanks for your coopera
•LIGHT ROCK •LOOSE FUSION
•ELECTRONIC •MAINSTREAM*
•FUNK •REGGAE •UPBEAT*
come to
SUB
GAMES ROOM
Downstairs Student Union Building
University of British Columbia
Hear the sounds of the group of 50
Latest electronic video games
"Truly a unique experience in audio and video manipulation."
Clljfy CUJ^ _ CITR
DJ
-8 LANE 5 PIN BOWLING
-9 BILLARD TABLES
-50 ELECTRONIC VIDEO
& PINBALL GAMES
Open: Monday to Saturday 8am -12:45 at night
Sunday 10am - 11:30pm
Any Advanced Bookings — Please call
SUB GAMES ROOM 228-3692
CITR SURVEY
cont'd from pg. 1
ever-increasing role in the
future. "The alumni will really
become important as the
station continues to grow and
look for alternative areas of
funding," says outgoing
president Jeff Kearney.
"Although the full results won't
be seen for five to ten years, the
people retiring will bearoundto
provide a base from which new
people can learn, and that will
help things become more
consistent."
Equipment replacement is
also looming as an important
issue in the near future. "There
has been no major technical
upgrading since we moved into
SUB in 1968," informs chief
engineer Rick Anderson.
"Failures are beginning to
happen at an increasing rate
and it's frustrating to our
listeners when we have to shut
down to fix the problems. We
intend to be replacing some key
audio-processing equipment
(console board) and try and
alleviate this problem."
Although there's no point in
going stereo now because it
would make the low power
signal even more difficult to
pick up, the new equipment will
allow CITR to go stereo when
it gets an increase in power
within the next five years, he
says. "But let's face it, when you
get really detailed everybody
gets turned off. They don't want
to read about consoles and
stuff. Most people don't give a
damn, all they do is listen for the
music."
Well Rick, you can't say we
didn't give you a chance to talk
about it.
Probably the most important
issue CITR must face is how to
secure those financial
resources that are necessary
for plans to come true. "Plans
for the future are merely
dreams, without financial
intravenous," newly-elected
bsusiness manager Harry
Hertscheg says. "We'll betrying
to expand our revenue
generating operations such as
DISCORDER    April 1983
CITR mobile sound and benefit
concerts in order to be less
dependent on the whims of
Students Council."
CITR's operating expenses
are over $50,000 a year —
$30,000 of which is subsidized
by UBC's student Alma Mater
Society, while the other $20,000
is generated from Pit discos,
Hot Air Shows, outside discos
and concerts.
"Our business operations are
also a means for members to
earn some part time income, as
well as being a vehicle for
people to become more familiar
with CITR," says Hertscheg.
A major vehicle for getting
people to become more familiar
with CITR is DISCORDER. But
the guide to CITR is more than a
promotional tool. "We'll have
stories that deal with portraying
the culture and society we live
in," says DISCORDER co-
editor Mike Mines, who is also
the outgoing vice president.
"DISCORDER will always
question the values of the mass
culture. It'll be able to provide
an alternative look at music and
counter-culture.
"It also provides a vehicle
ior advertisers to reach a
significant market that is
beyond the average, typical
consumer. A lot of advertisers
are just looking at what the
average is, but they're not really
going after the large fringe that
exists in Vancouver."
"We want to expose people to
what's out there and expose
them to an alternative form of
broadcasting," emphasizes
DISCORDER co-editor and
incoming vice president
Jennifer Fahrni. "CITRistotally
different than any other station.
And it's much more fun to listen
to."
Now you know where CITR
thinks it's going. The survey
also gives you the opportunity
to help navigate. Next year's
birthday survey will reveal
where the path through the
cultural frontier has taken us.
--Duffy McAirhead
photo: Jamie Sikorski
DOA shared,the SUB Ballroom stage with Braineater and Lcc
Popularos March 11. Joey and friends kept true to form creating a
mood of carefree banadon (to the Nth degree).
page 3 DISCORDER    April 1983
THE MEMBERS
Uprythm Downbeat
(ARISTA(US))
The Members are alive and
judging by this album, very well
thank you very much. The
undue stress they caused me by
taking two years to come up
with this, their third offering,
has been more than compensated by the punchy,
danceable, dubwise direction
that the band has taken. This
direction, with drums and bass
mixed up and a good dose of
brass, seems to have been such
a natural, effortless progression from their last album that
one would think they were born
playing this brand of 'funk';
unlike many other bands who
evidently rushed out to their
local bookstore panting for
copies of 'How to play funk' as
soon    as    some    bored    and
mischievous scribe decreed it
The latest thing.'
Within ten tracks on Uprythm
Downbeat there is a conspicuous trio of singles: the
opening, tongue-in-cheek
Working Girl, (released light
years ago), the catchy Boys
Like Us and a dub of the Radio
single. The latter especially,
although good, is really
pushing it; come on fellas, short
of ideas? Or does someone
have their (commercial) fingers
in the till? Quite forgiveable,
though, is the inclusion of their
version of Model. Although it
seems obviously unfair to make
a comparison, I say this one has
more balls than the original by
those Jolly Germans, Kraft-
werk. I mean, at least you can
sway to it as opposed to the
'look serious and contemplate
it' mood of the electronic piece.
The second track on side
one, The Family, comments
drily on the pressures and
obligations inflicted by the
family, be it linked by blood or
by corporate contract: "If you
need money we'll give you a
loan/If you need a job there's
work to be done/New York,
London, Milan too, all you gotta
do is keep it in the family."
Listen to the Bunnymen's Pride
and then listen to this Chair
man of the Board, the fourth
track on the first side is a
dancer's delight, good and
solid; music to Rock the Boat
to.
The second side continues
the styles set by the first,
opening as it does with three
more solid rhythms, each
supplemented with the
omnipresent but stylish brass
arrangements: Going West,
Radiodub and Fire In My Heart.
The next track, You And Me
Against The World is, at first
listen, the weakest. But wait —
is that an experiment with a
mutant form of country music?
Any doubts about the album are
forgotten, however, on
listening to the last track We
The People, possibly the best
track on the album. Gone, for
once, is the dry humour for
which The Members are noted.
Anger and bitterness are once
again to the fore as the song
churns out heartfelt pleas and
searching questions: "Who
bears the scars of pain? What
crimes are committed in our
name?" Revolt while you
dance!
This is an excellent album.
Buy it.
—Sukhvinder Johal
Pig Bag
Lend an Ear
(Y RECORDS UK IMPORT)
I was on my way home from
work at the Bureau of Music
Standardization when I first
noticed it while alone in the
elevator. My foot was tapping
against the floor and as I
watched my knees began to
bounce and shake. Pretty soon
my fingers began to snap in
time. I immediately realized
something was wrong and
began to search frantically for
the source of my rhythmic
twitching. Then I noticed the
muzak. It wasn't ordinary
elevator muzak but something
faster, more rhythmic with an
incredible funky bass line,
wonderful afro/latin drum
sounds, and a bit of jazzy vocals
thrown in here and there. The
more I listened the more I found
my body wanted to dance
around the elevator. This wasn't
right I soon decided. The
Bureau of Elevator Control (we
in the business call it BEC)
couldn't allow this so I had to
find its source and if possible,
destroy it. When you work for
the Bureau, you're always on
the job.
My search led me upstairs to
the elevator control station. I
was forced to break down the
door and eliminate several men
dressed as technicians with
.357 magnum. I'm sure Clint
would have understood.
Anyway, as I suspected these
men werefalsetechnicians who
had taken over the controls of
the elevators and were playing
this record over the sound
system.
I examined the record and
noticed that it was produced by
one Simon Underwood, ex-
member of The Pop Group and
current member of whatever
foul gang had hatched this evil
plot. I looked at the record label
and saw the name Pigbag.
Definitely a name not friendly to
the authorities. They would
have to be dealt with.
I decided to listen to a bit of
the album before I destroyed it
once and for all. The first track,
Weak At The Knees I had heard
in the elevator but the second
was even worse. Hit O The Deck
it was called. The vocals of one
Angela Jaeger and the
bouncing bass and flowing sax
literally hurled me across the
room in a frenzy of spastic
dancing. The next song was
equally as bad. Ubud with its
whirling percussion and conga
solo had me thinking of the
smoke filled jazz bars and
cantinas I us,ed to frequent
during the days of my ignorant
youth.
I decided to take a quick
listen to side 2 and noticed that
while it wasn't as all
encompassing as side 1, it still
exerted a dangerous effect on
the listener's will. I picked up
the album and placed it in the
cover I had been holding,
noting the title; Lend An Ear.
I knew the record was
dangerous but I couldn't put my
finger on exactly why, then it all
came to me. There was no
beeping and popping of synths,
no endless boogie guitar riffs,
no    shrill    over/under    sexed
1869 WEST 4th AVE.
VANCOUVER, B.C.
738-3232
Maurice And The
Cliches
C'Est La Vie
(RMS RECORDS)
My associate, Dave
Jamieson, is on holiday so it's
the case of the uninformed
reviewer; politely known as
'objective'.
This reviewer admits that he
is not familiar with Maurice and
his Cliches. CITR's copy of
C'est La Vie has written on it —
"Local Boys Make Good", in
regard to their first LP release
on the Los Angeles-based
independent RMS label. Now I
wonder just how much faith
their record company places in
this band. Consider the rather
bland    album    jacket:    no
i
r
!**
women/men in tight pants
screaming in high-pitched
voices. It was all horns, drums,
and bass with occasional forays
in blues/jazz vocal stylings. It
was different, it was foreign, it
was happy. It was something
we couldn't have here.
I checked the name of the
company Y Records and
noticed that it was British and
could only be bought as an
import here. I picked up the
phone and told agent Legpin to
close down all the import
stores. I looked at the record,
deep in thought. This was
music of quality and craftman-
ship. Only the Brits could be so
bold. Well, we'd stopped them
this time. But I wondered as I
broke the record into little
pieces, what would have
happened if the Brits had
managed to get a general
release for this album?
—Dean Pelkey
producer, no personnel, and no
photo of any band member
(unless one includes the
drawing of the rather fashionable gent on the front).
Nothing. But who cares about
the sleeve, right? Well, I'm sure
the band and its fans would.
Enough of that; now what about
the music?
The music has potential, but
it is lacking in imagination and
energy. The imagination,
hopefully, is lying dormant; it's
tough going from the bar circuit
into the studio — give them
time. Maurice and the Cliches
tend to live up to their name by
using a lot of pop hooks. The
energy, hey Maurice (roll the r),
you need a good kick in those
black trousers. Get angry, get
happy, get something! butdon't
get bored behind the
microphone.
I kind of like Social
Casualties and Skyline; upbeat
and laid-back, respectively.
The album consists of mostly
upbeat tunes, and the
production is what you would
get on a tight budget. More
energy andfancier producing is
what is needed here to help this
veteran local band reach their
potential.
—Michael Klassen
The Birthday Party
The Bad Seed EP
(4AD UK IMPORT)
"It is the cruelty that cements
matter  together,   cruelty  that
molds   the   features   of   the
created world."
—A. Artaud
The Bad Seed is perhaps the
most profound apotheosis of
real life horror ever. Nick Cave
and his compatriots have struck
at the sordid underbelly of the
madness, moulded it, and have
finally let it loose in the form of a
four song EP.
This release consists of two
slow songs, two more upbeat.
Fears of Gun and Sonny's
Burning are veritable monsters,
page 4
running back and forth
between the line of a thrashing
metal beat and the vigorous
timing of an out-of-sync offbeat
bass, elephantine drums and a
guitar occasionally scratching,
more often spitting out dark
notes.
With his unit in order, Cave
permeates the atmosphere with
his doggerel drawl, flexing and
bending his vocal chords like a
mixed-up Cale-Reed-Morrison
apparition. Pleading and
screaming he makes his way
like a captive accused of the
most insidious crime of all — to
be born....born into the world
wild, wild world.
Deep in the Woods is a kind of
Gothic horror come to life. The
forest, personified, dumps the
women's honey body into the
well and the worms scrawl their
cruel design 'D-l-E' in her belly.
The song closes with a kind of
pent up energy, racing toward
the edge that seems symbolic in
a star which bursts and
shudders in the last moment of
its ecstasy before plummeting
into nothingness. The end,
intone Cave.
The essence of The Bad Seed
is captured in the closing song,
Wild World. A slow, plodding
base drum with a wiggled out of
proportion bassline and the
slightest nuance of guitar
structure upholds the buttress
for Cave's forward and
backward stroph and anti-
stroph pleas. What isbroughtto
mind is the torture of
contemporary existence,
hostile and beautiful at the
same time.
The Bad Seed rings out of the
listener a kind of last minute
surrender. Its dark foreboding
ramblings are as optimistic and
lively as one might get seconds
before the button is pushed. It is
a statement vibrant and alive,
and insignia of the present to
capture each moment as it
comes and squeeze the living
breath out of it, for and to
maintain the act of life itself.
Artistically The Bad Seed is
inseparable from the fixations
of the modern, the cause of I
of the modern, the cause of
language and sound to interact.
I am certain Pope Bill Buroughs
is nodding his head approvingly.
—Werner Jahnke DISCORDER    April 1983
 !
SUNDAY
MONDAY
TUESDAY
WEDNESDAY
THURSDAY
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7am
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9am  I
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| 4Pm   :
5Pm
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magazine
— :	
—7-^ ^—
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|     9pm
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VINYL
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■     [rA|R    CITR-FM 102 Cable 100                      | j £&, alternative
.J                 Listener Request Line 228-2487        1    :       J music programming
FINAL VINYL
proVe: MUSIC of our TIME
Hello. Welcome to the first in
a series of articles filling you in
on CITR's special programs.
This one introduces Music Of
Our Time, heard Sunday
mornings from 8:30 a.m. to
approximately 12:20 p.m. Many
people still think that this time
does not exist....little do they
know.
The program is currently
hosted by Jay Leslie and Paris
Simons. You can reclaim reality
from weekend indulgence by
the   sound    of   20th    century
classical   music hmmmm.
Modern Classical? "Isn't that a
contradiction in terms?" you
may ask. Well, I mean music
mostly from the classical
tradition. We can fly from
symphonic to electro-acoustic
to jazz to minimalist percussion
music without batting an eye.
Stay tuned in April for an interview with the father of avant-
garde interdeterminacy, John
Cage.
One thing I should make
clear: 'serious' music is not
humourless, and neither is our
program. Witness occasional
cameos ranging from P.D.Q.
Bach to Lenny Bruce. Also, we
can pass on enough music
trivia to stump your friends and
shock your neighbours.
Some music may demand
more of your attention than you
expect,   but   if  it's  good,   it's
worth it, right? Why shouldn't
you hear in one show works by
such diverse composers as
Claude Debussy and Laurie
Anderson? Usually, there will
be something different to
awaken  you,  no  matter what
your    musical    tastes    are	
Another thing — we are not
afraid to play a whole piece,
whether two minutes or over
two hundred minutes long. Our
audience is generally warned
far in advance if a monstrously
long composition looms in the
offing.
Those out there who have
listened in before know that at
10:30 a.m. we present the
Vancouver New Music
Calendar, a listing of concerts
and events of 20th century
music coming up around the
city in the following weeks. We
also present you with special
features on composers and
performers, often focusing on
local (even U.B.C!) people.
These can generally be heard
around 11:00 a.m. A wide-
ranging program, to be sure.
Let us rouse and stimulate
YOU on Sunday mornings.
Who knows? Maybe your
acoustic idea(l)s will be rearranged by CITR's alternative
approach to hangovers.
Indulge your ears in Music of
Our Time after all, variety IS
the spice	
—Paris Simons
Why
Pay
More?
Super Deals
on Wheels
Rent or Buy
A fine selection of '78 and
'79 city tested vehicles
350 ROBSON STREET
688-0001
ADVERTISE
HERE
Call
228-3017
CLASSIC LPS Fridays 11 pm
Transformer, Lou Reed — 1972
Futurama, Be Bop Deluxe — 1976
Fast Product, Compilation — 1980
Pretenders II, The Pretenders — 1981
Pure Pop For Now People, Nick Low — 1977
NEGLECTED LPS Sundays 11 pm
3 April - Them, Them
A true, little known psychedilic relic. This is Them after Van
Morrison left. The band consisted of newcomer Jerry Cole and
holdover Alan Henderson. Though this LP bears no resemblance
to the original group, there's some great acid-tinged guitar here.
(Happy Tiger Records - 1968)
10 April - Take a Heart, The Sorrows
An almost forgotten British R&B group of great potential. Their
one LP was a package of raw and dynamic Brit rock including the
title track, their lone chartmaker. This record is still in print on a
Spanish pressing. (Picadilly - 1966)
17 April - Creation, The Druids of Stonehenge
A pure slice of moronic psychedelic garage rock American style.
This LP includes strange and wonderful renditions of "I Put A Spell
on You" and Dylan's "It's All Over Now, Baby Blue". (Uni Records)
24 April - Big City Blues, John Hammond
Possibly the best LP by this stammering white folk-blues artist. His
stutter disappears, however, when he goes great renditions of
Chuck Berry, Willie Dixon and Bo Diddley standards. (Vanguard
Records).
MINI CONCERTS
Friday 1 April   Bow Wow Wow
Saturday 2 April The Sound
Monday 4 April: Jerry Lee Lewis - Sun Years
Tuesday 5 April: Grace Jones
Wednesday 6 April The Clash - Rarities
Thursday 7 April Delta 5
Friday 8 April Buzzcocks
Saturday 9 April TBA
Monday 11 April Pebbles, Nuggets & Boulders
Tuesday 12 April The Shaggs
Wednesday 13 April Bob Marley 1963-67
Thursday 14 April The Fall
Friday 15 April Dils/Nuns/Rank and File
Saturday 16 April Lene Lovich
Monday 18 April Elvis 'Mr. Country' Costello
Tuesday 19 April John Cale
Wednesday 20 April Jack Ruby
Thursday 21 April The Sex Pistols
Friday 22 April Stiff Little Fingers
Saturday 23 April  TBA
Monday 25 April The Shoes
Tuesday 26 April Wall of Voodoo
Wednesday 27 April Little Feat
Thursday 28 April Scritti Polltti
Friday 29 April Stranglers
Saturday 30 April Teardrop Explodes
photo: Mike Johal
Art Bergman in front of capacity crowd at UBC March 11th.
page5 DISCORDER    April 1983
^Y7@§ ©ltd (gapoppug
OPTICAL SERVICES LTD.
VUARNETS
for Spring
ON SALE CHEAP
SUB Bldg., Main Floor    222-2254
w*
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ClnnReport:
page 6
VISA
IN U.B.C. VILLAGE
NEXT TO BANK OF COMMERCE
albums - april 1983
TW ARTIST
ALBUM
DISTRIBUTOR
1 RANK & FILE
2 ECHO & THE BUNNYMEN
3 DEAD KENNEDYS
4 WALL OF VOODOO
5 SIOUXSIE & THE BANSHEES
6 THE STRANGLERS
7 FAD GADGET
8 THE BARRACUDAS
9 THE MEMBERS
10 D.O.A.
11 THE REVILLOS
12 IGGY POP
13 T.S.O.L.
14 UB 40
15 THE SOUND
16 THE BIRTHDAY PARTY
17 PIGBAG
18 LOU REED
19 SHAKIN' PYRAMIDS
20 PHIL SMITH
21 VARIOUS ARTISTS
22 THE DAMNED
23 BLACK UHURU
24 BANGLES
25 BAUHAUS
26 JAH WOBBLE
27 MAURICE & THE CLICHES
28 VARIOUS ARTISTS
29 RICHARD HELL & THE
VOIDOIDS
30 RAMONES
31 THOMPSON TWINS
32 LENE LOVICH
33 MICHAEL SMITH
34 SOFT CELL
35 WALTER STEDING	
SUNDOWN
PORCUPINE
PLASTIC SURGERY DISASTERS
CALL OF THE WEST
A KISS IN THE DREAMHOUSE
FELINE
UNDER THE FLAG
MEAN TIME
UPRHYTHM, DOWNBEAT
WAR ON 45
ATTACK
ZOMBIE BIRDHOUSE
BENEATH THE SHADOWS
LIVE
ALL FALL DOWN
THE BAD SEED
LEND AN EAR
LEGENDARY HEARTS
CELTS & COBRAS
THE PHIL SMITH ALBUM
PILLOWS AND PRAYERS
STRAWBERRIES
THE DUB FACTOR
BANGLES
THE SKY'S GONE OUT
BEDROOM ALBUM
C'EST LA VIE
LA. ROCKABILLY
DESTINY STREET
SUBTERRANEAN JUNGLE
SIDEKICKS
NO MAN'S LAND
Ml CYAAN BELIEVE IT
THE ART OF FALLING APART
BLINDED BY SCIENCE
SLASH (US)
WEA
FRINGE PRODUCT
A&M
POLYGRAM
CBS
MUTE (UK)
CLOSER (FRANCE)
ARISTA (US)
FRINGE PRODUCT
SUPERVILLE (UK)
CAPITOL
ALT. TENTACLES
POLYGRAM
WEA (UK)
4AD (UK)
Y (UK)
POLYGRAM
ZULU
CHERRY RED (UK)
BRONZE (UK)
MANGO (US)
FAULTY (US)
A&M
LAGO 3 (FRANCE)
RMS (US)
RHINO (US)
RED STAR (US)
WEA
POLYGRAM
CBS
MANGO (US)
POLYGRAM
CAPITOL
HOT AIRSHOWSURPRISE!
The last week of April was a
busy one for Vancouver
music.
On Sunday the 27th, the
Canadian Academy of
Recording Arts and Sciences
held its Third Annual Tribute
to West Coast Music. Held in
the Holiday Inn Harbourside
the evening was a slick,
boring, predictable evening of
self congratulation.
On Monday the 28th CITR
and The Pit held the finals of
the Hot Air Show. That was
another story altogether.
The finals were the
culmination of seven months
of competition, featuring over
forty bands. After seemingly
endless quarter/semi/demi/
hemi finals there remained
four bands. From the first
segment of the Hot Air Show
was Ground Zero, a hard
•jock/metal band led by DOA
alumni Randy Rampage and
former Avenger Brad Kent.
From the December segment
were the Actionauts. Redrum,
whose two song demo Danger
Never Know Your Name
topped CITR's singles
playlist, and popular club
band The Beverly Sisters
rounded out the evening.
The Actionauts opened the
evening and despite the
annoyance of a broken bass
string in the middle of the first
song, put together a good set
culminating with the monstrous Hell Bound Boogie
Boy, a metal song to end all
metal songs that featured
guitarist Tony Baloney and
soloing madly through the
crowd aboard the shoulders
of singer Gust Vassos.
Red Rum followed with a
characteristically tight and
economical set that, although
short on flash, possessed a
feel that is distinctly Red Rum;
understated visually, but with
its own sense of musical
power.
The evening then lurched to
the other end of the musical
spectrum as Ground Zero
took the stage by force. Loud,
nasty, dirty, the band stuck its
fist in the solar plexus of the
audience, driving those not
already 3/4 deaf or completely
numbed by alcohol to
desperate measures.
At about 1:30 the Beverly
Sisters kicked off the final
stage of the Hot Air Show,
packing the dance floor with
thoroughly besotted bodies
with their funky, hybrid
sound, the result of tossing
the bands various influences
into a blender and seasoning
with sweat.
As the last sounds of the
Beverly Sisters faded the
judges ballots were collected
and taken to the subterranean
shelter, equipped with
sophisticated calculation
devices (a pencil and a piece
of paper). The results were
tallied and in the grand
sporting tradition, the high
and low scores were
eliminated. After numerous
checkings and recheckings,
Master of Ceremonies Mike
Mines, his bow tie crushed,
the rose in his lapel wilted, a
shadow of his former dapper
self, emerged into the
spotlight with the results.
"In fourth place, winners of
$250...Red Rum"
"In third place, winners of a
Photo session with Dee
Lippingwell....Ground Zero."
At this point Ground Zero
guitarist Brad Kent began
screaming obscenities at the
crowd and the judges. Several
spectators reported seeing
Neal Hall, music critic for The
Vancouver Sun and one of the
Judges, grab Kent by the
lapels and tell him to keep his
opinions to himself (or words
to that effect). A scuffle
ensued and bouncers had to
separate the two men before
Hall, who stands about 6 feet,
and Kent, considerably
smaller, trashed the judges
table and spilled the last
round of drinks.
Unaware of the fracas,
Mines continued with the
results. Pausing briefly, Mines
announced the second place
band. "And in second place in
the    year's    Hot    Air    Show I
Finals....the Beverly Sisters."
The shocked silence of the I
crowd was broken by four of I
the Actionauts twitching and I
writhing on the floor, kicking I
their legs and shouting.
So    just    who   are    t
Actionauts?    What    kind    of I
music do they play? Well, in I
their latest configuration they I
are   Tony    Baloney   (former I
Melody    Pimp/Thirsty   Soul/
Bludgeoned   Pig)   on   guitar,
Gust Vassos on singing and I
falling   down.   Sam   Salmon I
(yes,    his    real    name)    on I
keyboards, Jazbo on Bass and I
recent addition Andy Graffiti
(Buddy   Selfish/UJ3rk5   and
drummer    about    town)    on |
drums.    The    band    cai
together about eight months I
ago,    formed    by    Baloney,
Vassos   and   Salmon.   For  a I
brief   period   they   featured |
former Young Canadian Jim
Bescott on bass, while Graffiti
is the third drummer to appear
with the Actionauts.
Vassos described the |
bands' sound as "Greco-lndo-
African Heavy Metal (sorry I
asked) while Baloney calls it I
Pomp Rock. This confusion is I
typical of the reaction to the I
Actionauts. In agig earlierthis I
year, backing 54/40 at John I
Barley's the band elicited |
confusion stares from t
crowd. Nobody quite knew I
what to think of them.
The   Actionauts,   however,
plan   to   put  the  ball   in  the |
public's court with a record,
combining  tracks they  have I
already   recorded   at   Ocean
Sound,    produced    by   Nick
Jones,   with  the  tracks  that
result   from   the   twenty-five
hours   of   recording   time  at
Little   Mountain   Sound   that |
they received as first prize ii
the Hot Air Show.
Congratulations to t h<
Actionauts and thanks to al
the other bands who appeared I
in this year's edition of The
Hot Air Show. The Hot Air
Show will return in September, unwieldy and unpredictable as ever. --CD I ClnnReport:
singles - april 1983
1 THE THE
2 IMPLOG
3 REDRUM
4 SHRIEKBACK
5 NEW ORDER
6 54-40
7 SPEAR OF DESTINY
8 SOUTHERN DEATH CULT
9 LEISURE PROCESS
10 UB40
11 MALCOLM McLAREN
12 SPECIAL AKA
13 SPLIFF
14 GABI DELGADO
15 BEAST
16 THE TEARDROP EXPLODES
17 MALARIA
18 THE CURE
19 POPULAR HISTORY OF
SIGNS
20 JUNCO RUN
21 THE THE
22 ROBERT GORL
23 ELVIS COSTELLO
24 RUTS DC
25 BAUHAUS
26 U2
27 TEARS FOR FEARS
28 EGGHEAD
29 THOMAS LEER
30 ANTI-NOWHERE LEAGUE
Perfect
Breakfast/She Creatures
Danger/Never Know Your Name
Lined Up
Blue Monday
Sound of Truth
A Flying Scotsman
Moya
Cashflow
I've Got Mine
Soweto
War Crimes
Blick Vecht
History of A Kiss
Possessed
You Disappear From View
Your Turn to Run
Let's Go To Bed
Dancing With Ideas
No More
Uncertain Smile
Mit Dir
Head to Toe
Weak Heart
Lagartija Nick
New Year's Day
Change
Fragrant Game
All About You
For You
prepared by Shea and Sondhl
SOME BIZARRE (UK)
LOG (US)
DEMO
Y (UK)
FACTORY (UK)
MO DA MU
BURNINGROME(UK)
SITUATION (UK)
EPIC
DEP INT (UK)
CHARISMA (UK)
TU TONE (UK)
GEMA (WG)
VIRGIN (UK)
AMDUSIAS (US)
MERCURY (UK)
JUNGLE (UK)
FICTION (UK)
MELODIA (UK)
MO DA MU
Some Bizarre (UK)
MUTE (UK)
F Beat (UK)
BOHEMIAN (UK)
BB (UK)
WEA
MERCURY (UK)
DEMO
CHERRY RED (UK)
WXYZ (UK)
REVAMPED 'TETRAS OPTIMISTIC
Bush Tetra's Cynthia Slay        photo: Jamie Sikorski
"If you don't get out of New
York in the winter, you turn into
a drug addict." So says Pat
Place guitarist for the Bush
Tetras, the four piece primal
white-funk band that made
their first Vancouver appearance in late February. Place,
who formed the band with
singer Cynthia Slay three years
ago, after stints with the
Contortions and James White
and the Blacks, looks like she
could use a bit of a boost
herself. She's just emerged
from the van the band has been
driving up and down the West
Coast, two hours late for
soundcheck, only to find that
the hotel the Tetras have been
booked into doesn't exist.
So it's melting snow and fear
of smack that bring the Bush
Tetra's to Vancouver. It couldn't
be much else. The band hasn't
released anythinq since the
1981 Rituals EP, produced by
Topper Headon of the Clash,
and are without a record
contract. And while the band
has a four song EP recorded
there are, as yet, no takers.
The band has also undergone
personnel changes. Gone are
original bassist Laura Kennedy
and drummer Dee Pop. Pop
went west to play with Jeffery
Lee  Pierce in the Gun Club.
The whereabouts of Kennedy
remain a mystery. In their place
are Bobby Albertson on bass
and former Contortions
James White and the Blacks
Raybeats drummer Don
Christenson. The change came
about, according to Slay,
because of a sense of disillusionment in the band. "We
were playing a lot, but the
feeling in the band was bad and
we weren't getting anything
accomplished. Everybody in
the band got pretty lazy, people
got pretty jaded and our sound
suffered." According to Place,
Pop was just going through the
motions behind the kit; "The
drummer was going through
the whole set at the same
tempo, which is not the way we
are at all", so it was out with the
old rhythm section, in with the
new.
In a band as rythmically
based as the Bush Tetras such a
change is inevitably reflected in
the band's sound. The addition
of Albertson and Christenson
gives the band a meatier sound.
Slay says "We still do funk , but
it's a lot more developed. Our
sound has gotten a lot thicker. It
hits you from the bottom, it hits
you from the top, it comes at
you from all sides." Christenson describes the band's music
as "Soul Music, with a new
social realist twist, a dash of
humor, and a big dash of the
macabre. Actually we're just a
bunch of jaded embittered
creeps from the music industry
'cause we never made it bit like
the Go Go's."
The change has had a big
impact on the band's shows.
The rhythm section is tighter
and, as Albertson puts it, "we
don't fall off the mountain as
often." There's a manic edge to
the Tetras shows. "We used to
be a more visual attraction,
what with the three girls up
front, but now people are
reacting a lot more, bombing
the stage, getting up and
dancing onstage. Last night in
Seattle there were these girls
who got up and were singing
DISCORDER    April 1983
The Charles Bogle
Phonograph Dispensary
Imports
New Wave
Punk-Rock
Blues-Folk
Classical
Children's
4430 W.
10th Avenue,
New & Used LP's
Rare Records
Collectibles
Sound Tracks
I   Comedy & Old
Radio Shows
224-0232
Vancouver, B.C.
If you hear it on CITR you can buy
it at Charles Bogle
SHOWCASE
ApT^Tl^^u™
From Montreal
RATIONAL YOUTH
"Their Only Vancouver Appearance!"
Advance Tickets $5 °° —No Minors, Pleas*
S.U.B. Ballroom, U.B.C.
SHOWCASE
APRIL 23, 8:00
DEAD KENNEDYS
Advance Tickets $7 °
—All Ages Welcome—
S.U.B. Ballroom, U.B.C.
Tickets Available at...
Zulu, Odyssey Imports, AMS Box Office
• PIT SHOWCASE •ONE NIGHT ONLY*
CATHOLIC GIRLS
From New England • APRIL 7 *   8:30 pm
Tickets Available at the Door
with me," says Slay, "I mean it
was great, no one used to sing
with us."
The Luv-a-Fair show was
considerably more sedate, the
former auto-body shop adding
its own deadening effect, an
effect the group found rather
disturbing. Slay taunted and
exhorted the crowd, tearing the
notebook from one particularly
catatonic spectator as he
sketched, and tossing back into
the crowd. At one point Place
abandoned the stage, leaving
her guitar feeding back, while
the band crashed through the
Troggs' Wild Thing, returning
halfway through the number
with a beer from the bar. The
rest of the band kept the song
going, propelling it forward
through the mutated sound of
the guitar playing itself. Even in
Place's absence, the Bush
Tetras didn't fall off the
mountain.
Without a record contract,
however, the bands' future
might be on shakier ground.
Despite this problem there is a
sense of optimism in the band.
"The thing is," says Christenson," most bands don't stay
together long enough to really
become a band. There's bands
popping up every three weeks,
and most of 'em end up putting
out one' indie single and then
breaking up and forming other
bands. After three years this
band is finally becoming a real
band. Bobby and I have been in
a lot of other bands, and after a
while you get' jaded cause
you're not making it. But with
this band we're determined to
stick with it, not because of the
money, but because we're
doing something we like."
So while there's nothing
available from the Bush Tetras
Mark II yet, you can expect a
four song EP, including Fear,
It's so Weird, Who's gonna
Pay and one more, all
produced by Joe Blaney, who
also worked on the Clash's
Combat Rock on thestandsin
the near or distant future. For
those who need a fix in the
meantime, there are a number
of releases from the old band;
The Rituals EP on Fetish UK, a
couple of singles on 99 Records
of New York, Things That Go
Boom in the Night and the
wonderful Too Many Creeps,
and a Reach Out international-
live cassette. Also available,
although probably difficult to
find, is a Don Christensen
single project under the name
of IMPLOG, entitled Breakfast/
She Creatures, now sitting
comfortably in CITR's Top 10
Singles.
-CD.
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