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  COLLECTOR'S R.RM. i«W.^«Wwi<«CITR
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FEATURING . , M M §
TICKETS AT USUAL OUTLETS Year of the Ox
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February 1985 Vol. 3 No. 1 jigm
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DiScOBDER
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|||* REGULAR FEATURES
/5   Program Guide 1!
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Si
Singles 28
ffM 22    Demo Derby
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/N 7H/S /SSl/E
Nettwerk 12
-the news on Vancouver's
latest label. Larry Thiesson
talks to Terry McBride.
Tom Hadju ...20
-bringing life to new music
Paris Simons remains
composed
* Re issues 22
-dead records brought
back to life before your
very eyes.
3>
m
£*££
:U>:i
testes
''v*.::>.
***
¥%?
•X>
■>r,
The candles have been blown out, and l^e cake's all gone, but its true, DISCORDER is now two years old. And if we
may engage in a little teary-eyed sentimentalism we'd like to thank some people whose efforts allowed this bastard child
of CITR Radio to make it this far. We would, of course, like to thank you, our readers, for simply picking up the magazine.
But also for providing support and criticism as the magazine grew. We'd like to thank our advertisers, whose financial
support has allowed us to continue publishing without applying to the CIA for funding as a front organization.
Thanks to everyone who's ever submitted anything to DISCORDER, whether we've used it or not. And Special Thanks
to Mike Mines and Jennifer Fahrni, who founded The Rag, and to Michael Shea, Jeff Kearney, and Fiona MacKay, who
edited it along the way.
Now that that bit of gushing is done with, you may turn the page and read the rest of the paper.
mm DISCORDER     a guide to CITR 1m 102 cable 100
February 1985
.AT AMERICA'S 10NCH QMS.
"All poor people have is bitching and
sex and now tfw/Y* trying to taKe
that away!*"
" Mow jusT picture yourself throwing
snowballs in the nt/de, \m little
devil!"
"I don't believe in that ewli/fibn.Then
why don't I have more hair on my
back?*'
DftcOnDER
Issue #25
EDITOR Chris Dafoe
WRITERS  Steve Robertson, Dorothy Cameron, Ammo Fuzztone, Larry
Theissen, Paris Simons, Jeffrey Kearney, Rocking Patrick, Bill
Mullan, Beverly Demchuk, Sukhvinder Johal
PICTURE EDITOR Jim Main
PHOTOS  Ross Cameron, Wayne Leidenfrost
CARTOONS  Susan Catherine, Theresa Henry, Robert Van Acker, R. Filbrant
PRODUCTION Dave Ball
LAYOUT  Harry Hertscheg, Dorothy Cameron, Robert McDonald, Robert
Van Acker, Randy Iwata, Pat Carrol
PROGRAM GUIDE Val Goodfellow
TYPESETTING  Dena Corby
COVER Carel Moiseiwitsch
ADVERTISING/CIRCULATION Harry Hertscheg
DISCORDER, c/o CITR Radio, 6138 S.U.B. Blvd., Vancouver, B.C., V6T 2A5
Phone (604) 228-3017
DISCORDER—A guide to CITR—is published monthly by the Student Radio Society of
the University of British Columbia.
CITR fm 101.9 cable 100.1 broadcasts its 49-watt signal in stereo throughout the Vancouver
area from Gage Towers on the UBC campus. For best reception, attach an antenna device
to your receiver. CITR is also available via cable in Vancouver, West Vancouver, North Vancouver, Burnaby, Richmond, Coquitlam, Port Coquitlam, Port Moody, Maple Ridge and
Mission.
DISCORDER circulates 12,000 free copies at selected locations throughout UBC and
Vancouver—and beyond. If you're interested in either advertising in DISCORDER or having
some copies dropped off, call 228-3017. Twelve month subscriptions are available at the
following rates: $9 in Canada, $12 outside Canada. Send cheque or money order payable
to 'DISCORDER'. Unsolicited manuscripts, photographs, cartoons and graphics are also
welcome, but they can be returned only if accompanied by a self-addressed return envelope
carrying sufficient Canadian postage. We do not assume responsibility for unsolicited
contributions.
DISCORDER and CITR offices are located in room 233 of UBC's Student Union Building.
For general CITR business enquiries or CITR Mobile Sound bookings, call 228-3017. The
music request line is 228-2487 or 228-CITR.
AVAILABLE FREE AT OVER 110 LOCATIONS
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your block to have a spot for DISCORDER. Arbutus & 16th
I II < Ifc
* * ii i in i * *      m
PHONE 738-6311
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Burning the House,
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The best-made American
movie of the year."
David Chute. LA HERALD EXAMINER DISCORDER      a guide to CITR 1m 102 cable 100
Dear Airhead,
I am writing to you in response
to the re-opening of the 'Industrial
Music' can of worms. I have listened to CITR for many years and
consider myself a person who is
open to all kinds of music. I have
tried on many occasions to appreciate this so-called 'innovative and
new sound' termed as Industrial
Music, but have miserably failed
each time. I have even had the
misfortune of wasting $16 of hard-
earned cash on one of the worst
albums I have ever heard, Nocturnal Emission's Sea of Bliss (should
have been called Sea of Boredom).
How anyone can call the aforementioned LP anything but pretentious noise is beyond me. I mean
any idiot could record an album
like that with absolutely no artistic
effort. Appliance effort perhaps,
but certainly not artistic effort. The
only problem with appliance effort
is that all of us flush the toilet, turn
on the toaster and wash the dishes
at least once a day, thus condemning this type of inspiration to dwell
in the houses of the MAJORITY
(oh no, not them, cries Greg Rum
& friends).
But why are so many people
caught up in this nonsense? Are
they so scared of listening to music
that other people have heard of?
They seem to have a paranoid
obsession of being different for the
sake of being different; rather than
standing for a set of individual
ethics or ideals which may be
overlooked by the mainstream.
Bands like Severed Heads and
Nocturnal   Emissions  follow  as
defeatist a path as do Loverboy.
Both sacrifice artistic integrity for
selfish obsessions. This new wave
of music makes me absolutely sick
and I thank god that the majority
of CITR's programming remains
clean of such filth.
Joe Smithers
Methinks that this can of worms
has gone a bit rancid.
Dear Airhead,
We would like to thank Brian
Maitlarf for his amusing review of
the Moev Alibis EP. We have had
the review blown up, and we are
wondering if he would care to sign
it, before it gets framed. We should
clear up.one point though, "Ha!"
is not a political song, but one
about a person going off the far
end.
Thanks also to Beverly Demchuk
for her open and serious look at
our releases. Keep up your excellent work on the local scene.
Yours sincerely
Terry McBride
Nettwerk Productions
RHSAfc
ssssssasssssssssssssss^
c/o CITR Radio
6138 S.U.B. Blvd.
Vancouver, B.C.
V6T2A5
Dear Airhead,
I think that Larry Thiessen's letter in January's DISCORDER
proves only that he is operating
with a basic belief in inequality.
He states that 50% or more of
the titles that he plays on his program have women involved in writing, performing, and/or producing.
But he fails to specify how many
of the titles that he plays have men
involved in writing, performing,
and/or producing. (It would probably be at least 90%.) While some
bands may have one or two females involved, there may also be
quite a few males involved with the
same band. The point is still that
the total number of females involved in making the music that CITR
plays is very much lower than the
total number of males.
As for the Annie Anxiety quotation that Mr. Thiessen chooses to
use: It reeks of misogyny. The implication is that to present oneself
as a woman is to automatically
subjugate oneself as a woman is
to automatically subjugate oneself.
But this suggestion can only come
out of a belief in inequality in the
me night my w&z cajppo*d
,fVT TH£ tAET, M\WE ArtO WflWN
D\e>CO\liJWB;    OPSWV
February 1985
first place. And it is that very belief
that we must recognize as being
faulty—the belief that the 'feminine' is inferior to the 'masculine.'
Why should a woman not present
herself to the world as a woman if
she wants to? I mean, would you
tell Eddie Murphy not to present
himself to the world as a black
man?
Sincerely,
Adele Hawley
Annie Anxiety is not a
misogynist. She's never had a
misog in her life.
Dear Airhead,
I've been a member at CITR for
nearly five months and I'm glad
that two women have finally come
forward and mentioned the problem
of sexism up here at CITR. However, I'm writing to you to inform the
readers of DISCORDER what is
actually happening at the station.
There has been a campaign
against women joining the station
ever since I joined in September,
headed by those low-down, commie-bashing, women-haters; Dave
Ball and Chris Dafoe. Val Good-
fellow wasn't kidding when she
said that Program Guiding was like
bondage...I've heard terrible
screams during layout meetings
while standing outside the DISCORDER room with my ear to the
door.
Marie Carlson only hit the nail
partially on the head when she
wrote that 'every issue of DISCORDER seems to contain some criticisms of feminists.' Chris Dafoe
and Dave Ball let me in on a little-
known secret (because they think
I'm cute) that they print subliminal
messages of hate-literature kind
against women in every DISCORDER on page 33.
But why, may you ask, do several
women writers appear in monthly
issues of DISCORDER? Speaking
from personal experience, Dave
and Chris will only print your article after you let them do horrible
and degrading things to you.
That Dafoe guy made me lick his
shoes clean before he'd send my
first article to be typeset. And \ had
to let Dave Ball rip my clothes off
with an exacto knife before he'd
promise not to cut my D.O.A. article into one sentence. That was only the beginning. I've had two more
articles published since and they
are threatening to do even more
things to me if I write another article. Val was lucky that her record
reviews weren't up to DISCORDER's trashy standards. At least
she doesn't have cigarette burns
over 90% of her body.
I keep on asking the other
women at the station for help, but
they're even more afraid of Dave
and Chris than I am. I think they
may be trying to poison us with Year of the Ox
arsenic-laced powdered jelly do-
nuts—I ike, like 'Flowers in the Attic—but I can't be sure.
Sincerely,
Maria Trail
Airhead,
Competition is a must in "Radio
City'—the big stations in Vancouver require an audience to boost
their ratings and to establish a
good reputation with them as well;
at least I would think so.
Of course, CITR is up to par in
my books, and I am sure, in others
as well. Nevertheless, it does not
suffer from commercialism, in the
sense that it does not have the
potential to attract the larger
advertisers.
Advertising plays a very important part in radio, television, and
other media markets as well. I may
not be knowledgeable in all aspects of the communications business, but I most certainly know that
to build a strong audience, you
must have the qualities to succeed,
and be good at what you do.
I enjoy listening to your station,
but could not be a steady listener
at this time. I tend to be a social
butterfly, and jump from one station to the other. Your station has
proven to be a success by many
people, but it has its weak points
as well.
What is it that you are trying to
achieve? Are you just a "fun" station, or do you have goals? I would
suspect that you will reach commercial standards as well i.i the
coming years. Keep on doing what
you are doing, but make it tighter,
and highly specialized to a certain
audience. Just a silent partner...the
larger stations believe I'm of no
more use than a postage stamp
DISCORDER     a guide to CITR 1m 102 cable 100
without gum. How dare them suspect me to be the one calling the
shots...as Rodney Dangerfield was
once quoted as saying...I get no
respect...so in retaliation to the
biggy stations...! say..."Let's Go
Up."
Sincerely yours,
Racine Carr
A postage stamp without gum?
The "biggy" stations regard us
as little more than a sex object,
here to satisfy their perverted
pleaures. But, as I commented
so cryptically last month, they're
far too "small" for us to bother
with. Get it? Anyway, stay real,
Racine, and remember that butterflies are free.
Dear Airhead,
Hey! CITR's the greatest. I've
been a listener since you went on
the air.
Hey! Shindig's the greatest thing
happening for local bands.
Hey! Where'd you get those
judges? Red Herring wins! Really?
Sure they're a good band with
lots of commercial potential. Right?
Judging from the past two winners I hope this doesn't mean commercial potential is part of the
criteria for winning.
Isn't CITR a non-commercial
station?
Your faithful servant,
Kevin
Airhead,
So I hear CITR is going high
power.
"Here, little boy. Take this .44
Magnum and go play."
Lester Square
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February 1985
e«ig! 4
mming at the Savoy
Lazer, drums; David Stalling, guitar; David Say, sax; Isaac, guitar
and vocals; Howard Michaelson,
keyboard; Neil Melliship, bass; Kelly Connell, vocals and go-go). They
looked and sounded like about
three different bands playing together. It was nice to see the audience at the Savoy attacked for
once. I heard someone say: "I
don't want to, but I like them—
they're the first orgasm band I've
heard in a long time."
Isaac says that they are trying to
"break down sexual stereotypes"
by "employing traditional sexual
mediums (presumably rock'n'roll
and go-go dancing) and juxtaposing that with lyrics aimed at diffusing the rigid lines between man
and woman, gay and straight." The
upshot was a sort of "fuck-me"
band. Apparently, the judges in
Bob's Your Uncle
Irritant (Dieter Pilz, guitar and
vocals; Peter DeVries, bass and
vocals; Mark Gruft, drums), one of
those stark (jeans, white t-shirts),
rough, "energetic" bands that are
too loud to hear, kicked off the first
round of Shindig II a couple of
weeks ago at the Savoy. Like several famous (infamous?) Vancouver
punk bands (D.O.A., Los Popularos, The Subhumans) Irritant hails
from "The Plaza." And so naturally they want to "preserve the energy and political outspokeness of
punk." And, they believe, that
music can educate although it
can't actually "effect change, it
can't create motivation in people."
You won't be surprised to hear that
these guys write songs about "The
B.C. Spirit" ("voting Socred is a
social problem") and not about
their Dodge Chargers.
Unfortunately, correct politics
didn't count for much with the
judges: Irritant didn't win. There
was some ugly grumbling among
the fans that Shindig was rigged.
Perhaps if the judges could have
made out the lyrics history would
have been different...
The second band up was Bob's
Your Uncle (Tux Radelfinger, bass;
James Junger, guitar; Slim Lizard,
harmonica; Bobby Herron, drums;
Sook-yin, vocals, antics). And they
were completely different. They
told me beforehand that they play
ed everything from Nova Scotia jigs
to assorted animal noises and that
they replaced the synthesizer with
"New-Back-Pocket" harmonica.
Sook-yin showed me her props: a
tin thing with two chickens that
peck, a cowbell, a gold squirrel
planter, and a big stack of illustrated cue cards. Anyone's guess was
as good as mine. But they were
really good; according the the
man-on-the-bar-stool they were
"Damn Good!" Their songs ranged from smart and lyrical ("Too
many mirrors not enough reflection"), to playful-narrative ("Your
nervous laughter sounds happy to
me'—a story accompanied by cue
cards), to semi-political ("No collar man"). They're "serious fun;"
they're unpredictable; and they're
not bad musicians either. Out of
the ordinary: Tux plays a more
melodic bass than usual and Slim
Lizard's new "Non-traditional" harmonica was an interesting change
from the standard synthesizer
background of modern music.
Sook-yin's antics and props give
Bob's the "experimental-performance" look that's fun to watch.
Sook-yin is still a "shower"
singer but polish doesn't count for
much with our unfathomable
judges, and Bob's came out the
winners.
The last band in round I was I.
Zack. A BIG, slick, sexy band
(Candy, vocals and go-go; Lee,
vocals   and   percussion;   Mitch
Bruce Jefferson, keyboards; Robin
Suchy, vocals and songwriter) was
not what the predominantly punk
and thoroughly UGLY crowd wanted. Hand of Fate played straight,
a little old-fashioned, improvisional,
"jam-y" rock'n'roll that sounded
too much like the Grateful Dead for
some of the big-haired, LOUD
noise connoisseurs in the audience. They started throwing things
and saying mean stuff..
Before the set, Robin Suchy told
me: "I know we're not the kind of
music they're into..." He was right.
The second band, The Doctors
(Alan Sondraal, vocals, guitar,
trumpet, sax, flute; Peter Weih,
vocals, bass; Norma Laube, keyboards; Chris Bruchman, sax; Ron
Rodrigues, drums) were treated a
little less brutally but someone
threw something and the atmos-
NG3
their wisdom are as little impressed by sexual politics as by B.C.
politics.
The second round of Shindig II,
Monday, January 21, was a pretty
miserable night. The audience was
bloodthirsty and uncompromising.
The bands were uninspired. The
first band, Hand of Fate (John
Zickmantel, drums; Bill Zickman-
tel, bass; Geoff Catliff, guitar and
songwriter; Dave Friend, guitar;
phere was tense (although Alan
Sondraal seemed to love it.) Eventually the band relaxed a bit and
the audience seemed to tolerate
them. The Doctors' vocals are a little sick and they aren't much to
look at but their music is a dance-
able amalgam of influences ranging from Indonesian music and
jazz to punk.
The winners and obvious favourites of round II were NG3, a decidedly hardcore band. (So much re
Bongo Gestalt
for those nasty rumours about corruption among the CITR judges).
NG3 (Odd Noxious, drums; Nev,
guitar; Jaime, bass; John Frymire,
guitar and vocals) was definitely
the most exciting band of the evening. They're loud, fast, hard—the
usual—but they do it well.
And they look right: John has
electric blue hair and the bass
player keeps rolling his eyes and
head as if he were going to pass
out. NG3 claims they're unlike
other hardcore bands in that
they're "not into the Sewer System." They're not on a "death
binge."
But, of course, they're political.
NG3 stands for: No Guns, No Government, No God. Why? Because:
"Those are a lot of what's fucking
things up." "Religion fucks everything up," says guitarist John Frymire, "well, it fucked me up." What
about morality, do they believe in
some kind of morality? "No, morality fucks people up too," says John.
A thorough-going anarchy that one
of them suggested could be summed up in the cliche, "to each his
own." They won. Odd says resignedly, "I've lost in these competitions before."
The final round had a promising
line-up: Legion of Doom, Bongo
Gestalt, and David Domino. We
weren't disappointed. Legion of
Doom, named after a wrestling
tag-team, is Emile Davis "Nim"
(bass and vocals), Garner Stone
(guitar), Don Isaac (guitar), Darrin
Abbey (drums). They characterized themselves as a band that
"wanted to be boppy and fun but
were actually harsh and shitty."
They've been together only two
months; according to Emile, "not
long enough." They were a little
pessimistic but after all, quite
honest about their ability. Emile is
a surfer and he pushes beach-
surfer tunes. He's trying to combine surfing and politics but "that's
not easy."(!) Some keen listeners
could hear the surfer influence but
it was hidden pretty deep. They
played loud, RAW, toe-tapping
music. Dean/Zero and the crowd
more SHiNdig p. 14
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on time, to catch the salsa music
of more fools than you could shake
a stick at who danced around a
candelbrumin the centre of the
floor, making merry. In a hard core
era it's enlightening to find so
many people frolicking to pure silliness! And I gambolled along doing a terrible two-step waltz with
Rachel (she led). Have more of this
kind of fun on April Fool's Day
when a parade starts at Granville
Island and ends up. . .? Do not
miss the Festival of Fools! As for
Bolero Lava, what can I say? I've
been a fan of theirs since they started in my basement in the summer
of '83. I hope they go a long way.
By the look of it they will. They
have an unerring sense of occasion when they perform, making
any technical failings irrelevant. . .
it's the attitude I think that makes
them successful—they chose not
to resond to some goof who shouted, "hey, sexy!", simply because
the songs say it all. In the war of
attrition between the sexes, Bolero
Lava handles its propaganda like
storm troopers. They prey on guilt-
ridden male intellectuals—an easy
target—though their main thrust is
as cheerleaders for independent
women which is amply shown in
their sexually-correct lyrics, viz. "I
decided a long time ago I'm gonna get what I need. . . "and a new
song featuring dialogue between
Phaedra and Vanessa about asking a man for his seat on the bus;
"I'm gonna call your bluff". .  then
there's the anomaly of Laurel, the
statuesque bassist whose technique is in process, being more
beautiful in a Cosmo way than any
Vogue cover girl, replete with this
Xmas' turkey bones strung around
her neck..."she wanted to be seen
in a fashion magazine," goes
Western Rage, and I suddenly see
the character of the anorexic
woman in the song is not Laurel
but Phaedra, a WIRED guitarist
barely able to contain her energy,
a skinny little weasel totally unfit
for "marital duty", and comprehend just how high the stakes are
here in this game. . . thanks for all
the letters boys and girls; if you
think that's outrageous, wait'll you
see what I've got in the bag for
next month! They're gonna give
me THE CHAIR. . .watch for the
ClnflK   CABLnOO   PRESENTS
SHOWCASE-85
«&
<b&
Go Four 3
me
Advance Tickets: $500
Available:
Zulu records, Odyssey imports,
AMS box office
ALL AGES WELCOME Year of the Ox
DISCORDER     a guide to CITR 1m 102 cable 100
sudden rash appearance of FASTER PUSSYCAT, a new band-aid
on the old wound. Unabashedly
sexist, my source says they are
writing songs with video images in
mind, to which I say what a relief!
I mean, I get enough Sesame
Street on Good Rockin' Tonite,
and I'm ready to see somethin'
with some meat on it! & I don't
mean softcoreporn as in Duran
Duran; I want to be OVERWHELMED like the Cabaret Voltaire video did to me when Raz-
Draz somehow got aholt to it in
'83. . . Bob and Kathy, ex-Chronic
Condition (pi. Buddah c. 1980) are
still together, now in Toronto in a
band called COOL-LASSO.
Demotape vascillates between pop
and country rock—I like it alot, but
I also like Bob and many of his
songs which I know well, so I need
more opinions—you may request
it at 228-CITR. . HAI JINGO debuted at a private party at FACES
in Jan. & are slated to play the
TOWN PUMP & The RAILWAY
CLUB in Feb. Now's your chance
to get out & make your own opinions before the hacks & scribes get
to them. . . speaking of TOWN
PUMP, they are doin a local music
contest with CKLG and the PROVINCE, with musical prizes of
fered. More than 50 demotapes I
had   been   submitted   by   Newl
Year's      ONE FELL SWOOP is j
just finishing their new E.P. to be I
distributed by NETTWERK PRODUCTIONS,   who   also   handle
MOEV,   SKINNY   PUPPY   and
GRAPES OF WRATH, all with new
E.P.s out. They played the Railway |
Club Jan. 28-29 & are booked into the TOWN PUMP in Feb.. . .
but if you really want to see some I
wierd action, don't miss the AN- |
THROPOMORPHIC     BEAUX-
ARTS BALL Sat., Feb. 23rd at the |
Commodore. It's for alumni of Emily Carr College of Art & Design,
and its former incarnation the Vancouver School of Art, and you have I
to dress up as something that's |
come to life. . .the afternoon before the Ball there will be an auc-1
tion at the College's Concourse I
Gallery, with proceeds matched
dollar for dollar by Safeway to be
contributed to the Food Bank. I've
gotten the short end of the stick
from the Food Bank more than |
once, so all I can do is parrot Lincoln Clarkes and say BUY ART |
NOT COCAINE.   . it's been a five-
week Welfare month, relax, we've I
bottomed out for awhile. . .yours |
hungrily,
AMMO FUZZTONE. DISCORDER     a guide to CITR 1m 102 cable 100
February 1985 j
Mm
Just before the Christmas rush descended
upon Vancouver, Nettwerk Productions introduced their first three records simultaneously.
They were greeted with mixed reviews; but the
fact that they were produced at all, let alone all
at once is cause for some attention. The groups
featured were Moev, Skinny Puppy, and The
Grapes of Wrath. Following is a transcription of
an interview done with Nettwerk's general operations manager, Terry McBride. „
Terry McBride
DISCORDER: / was quite impressed by the timing involved in the release of these three records.
It must have been very difficult to accomplish.
T.M.: Yes, very difficult. The final product of all
three wasn't finished until just about two days
before release—so the work involved was quite
incredible. But, it happened; and the release of
three records rather than just one has a lot more
impact.
DISCORDER: How long has Nettwerk been more
than just an idea?
T.M.: We started about three years ago with three
frustrated musicans and an ex-manager getting
together over a beer. From that point it took about
eight months of saving money by all four of us
in order to get it off the.gound. In terms of reality rather than ideas, I guess we've been around
for about a year and a half.
DISCORDER: My own impression of all the Nettwerk groups is that they seem to pursue a similar
sort of European or electronic sound. Would you
agree?
T.M.: Nothing like that was really conscious on
our part. We obviously wanted a high quality
sound; but as far as musical tastes are concerned, we're fairly open. Skinny Puppy fits one type
of sound, Moev another, and Grapes of Wrath
could even be described as a U.Srtype guitar
sound. As long as the sound is well-produced,
we would be interested in it. We don't want to be
labelled as an electronic sound or a guitar sound
or anything else that specific. I think that has
possibly been the downfall of such labels as Factory or Enigma. Some of the best companies and
certainly the most varied around right now in my
opinion are Crammed in Belgium or Waxtracks
in the U.S. They're very concerned with their
packaging and the suitability of their product for
export and just how the record sounds.
DISCORDER: That sounds a lot like Nettwerk's
attitude. I understand that you're very busy with
the export of your products. Is that so?
T.M.: Very definitely. Vancouver isn't L.A. or New
York where a local band can make a record and
expect to sell ten to fifteen thousand copies. It's
very nice for a Vancouver band to be accepted
in Vancouver; but that's not going to make you
successful in itself. It does help if people locally
don't hate you, though.
DISCORDER: Does Nettwerk plan to add more
local groups in the near future?
T.M.: We are looking at a few other bands; but
I couldn't definitely say yes or no to anything at
the moment. I can tell you that signing with any
band is a long term commitment for us as well
as them. Producing only one record is just not
a viable proposition. We have to look at them and
decide whether or not there is a market for them
beyond Vancouver.
DISCORDER: Do you think Vancouver has its
own sound?
T.M.: Absolutely. All you have to do is look at the
kind of music people in Vancouver are listening
to as opposed to New York or even Toronto.
Legendary Pink Dots or Portion Control for example, are making a relatively deep impression
here; and people have barely heard of them
there. Sure, there's lots of new music happening in those places; but nobody seems curious
enough to explore very much. This city seems
to almost have an obsession with finding bands
that nobody's heard of and then grabbing them.
DISCORDER: Why do you think that is?
T.M.: I really don't know. It's fun, though.
DISCORDER: Why do you think your marketing
efforts abroad have succeeded so quickly where
others have not?
T.M.: A lot of it has to do with being in the
business for a relatively long time. Another important aspect is the packaging. You can send
your music anywhere; but when the person at
the other end unwraps the mail, they're not going to be as willing to listen to it much less market
it unless the package has some sort of impact.
People at places like Rough Trade in England
must get at least 30 or 40 packages a day; and
with that kind of volume, you have to expect some
products to have more of an initial bite to them
before they've even been played.
DISCORDER: I'd have to agree. All you have to
do is look at the packaging of a product like
Recommended Records and you know you're going to be more likely to buy it in a record store.
T.M.: That's true; but what you also have to
realize is that in the final analysis, it's not consumers who make a record successful. Charts
don't sell records either—record stores sell
records and you have to keep the people who
work in them interested. One person in a record
store can sell 50-100 copies of your record if he
likes it. What happens then is that your next
release will automatically sell.
DISCORDER: How long do you think it will be
before any of these records have a sequel?
T.M.: That's already in the works. Moev is in the
studio, Skinny Puppy is in the studio, Grapes of
Wrath will shortly be in the studio.
DISCORDER: Could we get down to the groups
themselves. . . some specific details about each
group. Let's start with Skinny Puppy.
Skinny Puppy
T.M.: As far as making music and putting down
music, there's four people involved. As far as live
performances are concerned, there will only be
three.
DISCORDER: Why is that?
T.M.: The fourth person is David Ogilvie from
Mushroom Studios, who !; "*»ry involved in producing the Puppy sound. He s>. ,o\ just a producer
waiting in the studio; because when they perform
live, he is at the mixing board and what he does
there is just as important to their sound as what
is happening on stage. Then there's Kevin
Crompton, who does a great deal Of the writing,
Bill Liebe, who just recently joined, and Kevin
Ogilvie, who used to be in the record business Year of the Ox
in Ontario. He does the vocals. All three have
similar musical tastes. Kevin Crompton is still
associated with Images in Vogue, though.
DISCORDER: How about Moev? Have they
changed much since Madeline Morris left? I know
they've gotten very mixed reviews even in DISCORDER . . I have to admit that on the new
release I found the vocals a bit hidden.
DISCORDER     a guide to CITR 1m 102 cable 100
Moev
T.M.: What you have to realize is that stepping
in to the shoes of another vocalist who has been
with the group for a number of years is a time-
consuming operation. The next release from
Moev is likely to feature Christine Jones on lead
vocals as well as back-up vocals. Getting to Moev
itself. . .the way that band has been treated locally has always been with a great deal of cynicism
If that record had been released with someone
else's name on it, I think it would have gotten a
better reception. Madeline never got the recognition she deserves as a vocalist until she left
Moev, and you also have to remember that the
band was one of the first electronic local bands
to try anything in Vancouver; and as such, they
were breaking a lot of new ground. Consequently
they took a lot of the flak that might have otherwise been directed elsewhere.
DISCORDER: Who comprises Moev now?
T.M.: Tom Ferris, Mark Jowett, Cal Stephenson
and Christine Jones. In a sense, Moev now isn't
what it was then. They used to suffer in the production end and I don't think that's true anymore
DISCORDER: My early memories of Moev were
tainted by the fact that they sounded alright on
record, but whenever I saw them live, they always
seemed to fuck up—not to put too fine a point
on it.
T.M.: That's mostly due to the technology. When
you haven't got a lot of money (and Moev has
never had a lot of money) it's really hard. We
always ended up with middle- or botton-line
equipment and as a result, we suffered.
DISCORDER: In the early days you couldn't really
avoid a comparison between Moev and Images
in Vogue, who seemed to have lots of money and
hence, lots of technology. Moev definitely suffered
in the comparison.
T.M.: That's true. Not only that, but they have
always been labelled as an "electronic band;'
and probably always will—which irks Mark Jowett
to no end because it's as if the guitar wasn't even
there.
DISCORDER: Let's move on the The Grapes of
Wrath.
T.M.: Very interesting story on these guys. . .
DISCORDER: They're from Kelowna aren't they?\
T.M.: Yeah. They've been around as a band for
a couple of years. I only heard about them 8 or
9 weeks before the record came out.
DISCORDER: Jesus.
T.M.: What happened was that Greg Reilly, who
does a lot of our production, produced their
recording and gave us the tape to have a listen.
Well, we listened for about a week and decided
it was good. Then it was a matter of getting hold
of them to talk. So, we waited a while and one
day they came into Odyssey, so I plopped on their
tape and it was like "Hey, what're you doin' with
that tape, man? That's ours. . ." Anyway, we
managed to arrange a meeting for about 2:00
a.m., and we talked until about 5:00 a.m. They
went away and thought about it, came back, and
after we'd hashed out some details, we signed
them. Then it was a matter of a lot of long distance phone calls. . .
DISCORDER: They were still based in Kelowna
at that point?
T.M.: Yes. They've only been in Vancouver for
about a month and a half.
DISCORDER: How about the actual members of
that group?
T.M.: There's Kevin Kane bn lead guitar. . .
DISCORDER: Yer another Kevin?
T.M.: Yeah, it gets pretty confusing. . .there's al
these Kevins. . .then there's Tom Hooper on
vocals and bass and Chris Hooper on drums
They're an interesting phenomenon in that they
don't really sound like a guitar band as we know
it in Vancouver.
DISCORDER: / can understand that. I imagine
that being in Kelowna they probably had to look
a lot harder for their own sound.
T.M.: Yes. It's nice to work with people who aren't
set on a particular sound at the expense of
everything else.
The Grapes of Wrath
DISCORDER: That brings us back to what we
were discussing earlier. I think that because we
are a smaller entity than the other major North
American centres we tend to explore a lot more
if we're really committed to new music. It's probably even more true in a place like Kelowna.
T.M.: For sure.
DISCORDER: What processes did you have to
go through in order to get these bands promotion in the U.K. and Europe? I don't want you to
give away any trade secrets or anything. . .
T.M.: Oh, we don't worry about that. We've invited other organizations to come and look at our
connections. Some have even taken us up on it.
MoDaMu offered us information and we used
what we didn't already have. We had a fair num
ber of U.S. contacts through the association with
Moev. Our European connections came to an extent through my own association with Odyssey
Records. That brings up a point which should
be made. . .that if people want to contact us, they
should do it directly rather than through Odyssey.
It gets too confusing and it's not really fair to
either business. As far as distribution is concerned, it's handled by our own representatives in
Calgary, Winnipeg, Toronto, Ottawa and
Montreal.
DISCORDER: Who are the other three people involved in Nettwerk itself?
T.M.: Tom Ferris, Cal Stephenson and Mark
Jowett. Tom and Cal act sort of as our warehouse. . . i.e. all our records are shipped to them,
all our orders go out of there.
DISCORDER: All that in addition to being members of Moev?
T.M.: Yeah, it's pretty demanding. It's made the
newest Moev work a rather long process because
of all the other commitments. Mark. Jowett takes
care of a lot of the legal work, contracts, correspondence, etc. That, in addition to a full-time job
during the day and a part-time job at Odyssey.
I'm sort of the over-all organizer. I try to keep us
a business rather than a charity. The bands also
have a commitment in that when they appear,
they're not just themselves, they're also representatives of Nettwerk.
DISCORDER: That's good. It sort of implies that
the Nettwerk package spills over into the bands
themselves.
T.M.: Yes. It's like no one's going to make it
unless the whole label makes it. If one band is
successful, it will be through the efforts of Nettwerk and the other bands.
DISCORDER: How about recording studios?
T.M.: We find we are most compatible with
Mushroom.
DISCORDER: That covers just about everything
for me... is there anything you'd like to add?
T.M.: A few things. One is that people might look
at our packaging and come     up with the word
"slick". . .
DISCORDER: / don't think there's anything wrong
with being slick providing you have something to
back it up.
T.M.: That's your opinion. I think a lot of people
tend to cut down bands that look like they're going to make it. It's like you're not allowed to make
money. . .
DISCORDER: . . and if you do, then one isn't
supposed to enjoy listening to you anymore. . .
T.M.: . . .yeah. . .and what people have to realize
is that if you don't make money on your first
release, how are you going to be able to do any
subsequent work?
Nettwerk is currently working on a second
pressing for their three albums in Toronto. A third
pressing is planned for March or April and it will
be done in England. With the current sterling
devaluation, this pressing will probably be made
available locally for very little more money than
the cost of the domestic pressing. . . something
to look forward to. . .
Another thing to look forward to is an upcoming set of concerts featuring Nettwerk groups on
February 15 and 16 at the New York Theatre. The
Feb. 15 concert will feature Grapes of Wrath, Beat
Pagodas and Bamff. Feb. 16 will see Skinny Puppy, Emily and Courage of Lassie. If I wasn't particularly interested before this interview, I certainly
am now. Try to make it. . .
—Larry Thlessen DISCORDER     a guide to CITR tm 102 cable 100
More SHiNdig
seemed to like them a lot. But they
weren't the chosen ones.
'  The second band last night was
Bongo Gestalt (Ian Ross, guitar;
Scott Robinson, bass; Jan Robinson, vocals; Greg Hulfeld, keyboards; Jim Gill, drums). This band
looked good. Jan described them
semi-accurately^s a beatnik band.
And she says: "It's hard to say
what we are...we just wanna have
fun!" They're a "quirky," experimental, dance band. Jan was
definitely the best singer I'd heard
up to that point; and Greg Hulfeld's
Las Vegas version of "Slave To My
Dick" was quite brilliant. However,
despite their intentions, they tend
MANHATTAN
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IS4 THIIILOW If REEf  f EE. 6SII0IJ
February 1985
to look and sound a little ordinary
—some people even suggested
"derivative." Although they won the
Shindig, Jan says: "We're not making any BIG claims yet, but we're
going for it."
The last band, last night was
David Domino (David Domino,
electric piano and synthesizer;
Steven Drake, guitar; Michael
Root, drums). These guys were the
best musicians I'd heard at this
Shindig. They were polished. Steve
Drake is a very good, experienced
guitarist (he got his first wind-up
guitar when he was two and his
first electric guitar at six), and he
was the first musician that I spoke
to who said he didn't like mixing
music and politics. This will kill certain punks but Steven even claims
that politics in this country only
effect how much things cost!
David Domino looked and sounded very good but, after all, they
were probably not clunky and awkward enough to impress our rigorous judges. I think you can be too
good for Shindig.
So the winners are: Bob's Your
Uncle, NG3, and Bongo Gestalt!
It looks like "the-final-battle-be-
tween-good-and-evil" on February
4 at the Savoy for the last round of
Shindig II!
—Dorothy Cameron
aiOGIaolaolriolaaltialonlanloolaolaolbfllfioiaa^^
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MONDAYS
AT THE
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• ••••••••
* NO COVER   *
♦ HAPPY HOUR*
t 7:30-9:00 pm *
***••••**
twe plus
_   THE WINNER WILL RECEIVE j
ALL THREE FINALISTS WILL BE
RECORDED LIVE AT THE SAVOY
BY COMMERCIAL ELECTRONICS.
WATC IE ALBUM @lW(fi<j! LIVEAT THE SAVOY ON THE ZULU"BIRD LABEL
^condP^-^cording
24 hour Year of the Ox
DISCORDER     a guide to CITR 1m 102 cable 100
program
guide
A guide to CITR  ^e
FM 102
100
SAT    SUN        MON j TUE    WED    THU     FRI DISCORDER     a guide to CITR tm 102 cable 100
February 1985
FEBRUARY FEATURES
high profiles
MUSICAL MUD-WRESTLING: This month
features a large number of musical "Battle
of the Bands," with "Battle of the Punx" on
Friday nights, along with some hot phone-in
tag-team wrestling every Wednesday eve...
Fri
1
Battle of the Punx
Sat
2
23 Skidoo
Mon
4
The Who: Do the Strip
Tues
5
The Only Ones
Wed
6
Supremes vs Runaways
Thur
7
hosted by David Firman
Fri
8
Battle of the Punx
Sat
9
Cocteau Twins
Mon
11
Hard-up Heroes: Lost in the
60s
Tues
12
UBC sports broadcast
Wed
13
Joy Division vs Village
People
Thur
14
UBC sports broadcast
Fri
15
Battle of the Punx
Sat
16
Fats Waller
Mon
18
Buzzcocks: Part I
Tues
19
Buzzcocks: Part II & III
Wed
20
Prince vs James Brown
Thurs
21
hosted by David Firman
Fri
22
UBC sports broadcast
Sat
23
UBC sports broadcast
Mon
25
Patti Smith: Several Ways of
Going
Tues
26
The Enigmas
Wed
27
DOA vs Glen Miller
Thurs
28
Arts Underground
Feb.
SUNDAYS 8 am til NOON
MUSIC OF OUR TIME
3: Alvon Berg: Part I Chamber       Feb. 17: Morton Subotnick: Preview
Music (100th Anniversary Salute) Charles Ives: String Quartet #1
Feb.
10: Igor Stravinsky: Symphony of
Psalms
Luciano Berio: Sinfonia
Witold Lutoslawski: Concerto
for Orchestra
Feb. 24: George Crumb: Black Angels
Krzysztof Penderecki: Threnody
to the Victims of Hiroshima
Karel Husa: Music for Prague
1968
Pierre Boulez: Marteau Sans
Maitre
Hosted by: Jay Leslie, Roddy Yates, Sandra Thacker
LATE    NIGHT    SHOWS
After the midnight hour, the ghoulish DJs unfold from the CITR floor boards to
present a monsterous variety of alternative programming to help you, the listener
make it through the night. Let them fill your head space with creative sounds,
extravagant folly and other meaningful trivia to expand the horizons of your mind.
Join alien hosts such as the Funkmaster and Screaming Vegetable presenting
radio for those living on the edge with The Visiting Penguins Show. Listen for
tails of U2 Mono (creepy).
Other shows for insomniacs include Life After Bed, Broadway In Exile, Play Loud,
Uncontrollable Deviance and Music From The Tar Pits. For more detailed listings,
see Regular Programs, page 18.
Feb.
Feb.
PARTY   WITH   ME,   PUNKEFU
A complete hour of punk music every
Wednesday afternoon from 4:30 to 5:30 with Mike Dennis.
6: Live U.K. Subs                             Feb. 20: Live Circle Jerks
13: Ramones Interview                       Feb. 27: Live Foreskins
PROPAGANDA!
SATURDAYS 6:30 p.m. - 9:30 p.m.
Starting February 2 GERMAN MAIL, a documentry in twelve V2 hour episodes on the underground independent music
scene, featuring music juxtaposed with fascinating socio-political information. Highly recommended.
Also this month, I BRAINEATER will preview two tracks per week from his forthcoming album.
Additional highlights:
Feb.   2: How to test for cocaine purity.
Feb.   9: How to recognize and prepare
magic mushrooms.
Feb. 16: How to roll a good joint.
Feb. 23: TBA
Plus the regular features: Airhead analysis (Feb. 2), Today in History, Propaganda! editorial, interviews and an eclectic
mix of music and spoken word.
Host—Mike Johal       Operator—Don Miller       Production Assistant—Stacy Fruin I Year ol the Ox
DISCORDER     a guide to CITR tm 102 cable 100
FAST FORWARD
Tune in every Sunday evening at 9:30 p.m.
for the latest in the exciting and vibrant world
of experimental, independent, minimalist,
electronic, avant garde sounds, there's
something for the whole family!
Feb.   3: At 11 p.m., a look at "LA MANTRA
II", music from L.A. Trans Port
Tapes.
Feb. 10: The definitive look at the work of
Steven Brown. This show will
include selections from "ZOO
STORY," "MUSIC FOR SOLO
PIANO" and "DOUZIEME
JOURNEE." Critical analysis will
be included seeing as there are
many inconsistencies his his
music since leaving Tuxedomoon.
Guest: Larry Thiessen.
Feb. 17: Can you hear me? No quarter will
be shown. A show of very difficult
music. Beautiful...in another
world. Another word.
Feb. 24  Under which editions? Soundtext/
poetry from Toronto's Richard
Truhlar.
£&druort/d4
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c-77ie b&sf (urit/esi detficaton uh// unn a cozy c/mner^r- tun> at
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pffaWiefr
6:15 - 9:30 p.m.
phone   228-CITR
write CITPc Sca&tneaAt
6138 SUB BLVD. VANCOUVER, B.C.
SUNDAY NIGHT LIVE
Feb.   3:   Bolero Lava
Feb. 10:    Rhythm Mission
Feb. 17:    UK Decay
Feb. 24:    Enigmas
Mark down February 22 as the date of the third annual CITR Sports "Combocast." In this age of technological wizardry, started by CITR, of course, CITR Sports
presents live Thunderbird hockey and basketball. Relying on the ingenuity of engineer Rick "Buck the Odds" Anderson, we bring you two different games from
two different locations on the UBC campus. We start with hockey from Thunderbird Arena where the T-Birds take on the Saskatchewan Huskies in what could
be a do or die for both clubs or for the hockey broadcasters who have to bear the climes of Thunderbird Arena! Following the first period of the hockey game,
we'll take you to the warmer venue of War Memorial Gym for the basketball contest between the 'Birds and the Calgary Dinosaurs. Here is a complete list of what
you can expect to hear from CITR Sports on a Friday or Saturday night this month:
Basketball: Friday, February 14, UBC vs University of Victoria **8:25 p.m.
Hockey: Friday, February 22, UBC vs Saskatchewan 7:25 p.m.
Saturday, February 23, UBC vs Lethbridge 8:25 p.m.
COMBOCAST: Friday, February 22 7:25 p.m.
Membership Application
NAME   	
ADDRESS   	
POSTAL CODE
PHONE	
INTERESTED IN PROGRAMMING?
ARE YOU A UBC STUDENT?
UBC STUDENT NO.	
Y   N
For your membership, send $20
(students) $25 (non-students) or
$15 (unemployed) in cheque or
money order to:
CITR-FM
6138 SUB Boulevard
Vancouver, B.C.
V6T2A5 DISCORDER     a guide to CITR fm 102 cable 100
program guide
February 1985
rA guide to CITR
REGULAR  PROGRAMS
African Show
(Wednesday 9:30 pm-12 am)
A program featuring African music
and culture. Every week, with
news, current events and local
African music events. Feature at 11
p.m.: specific artists, the music of
specific African countries.
Broadway In Exile
(Tuesday 1 am-4 am/iate night
Monday)
Radio for people living on the outside of society. Hosted by Jerome
Broadway.
Fast Forward
(Sunday 9:30 pm-1 am)
The latest in the exciting and vibrant world of experimental, independent, minimalist, electronic,
avant garde stuff. Actually, this program is yet another alternative to
CITR's general "alternative"
sound. Keep abreast of independent cassette releases around the
world, as well as listening for rare
five recordings or more well known
non-mainstream artists. Hosted by
Mark Mushet.
Folk International
(Saturday 10 am-12 noon)
Traditional folk music from Canada
and around the world Hosted by
Lawrence Kootnikoff.
Generic Review
(Weekdays at 8:35 am and 5:35
pm. Also on Saturday and
Sunday Magazine)
A critique of local entertainment,
theatrical   events,   movies,   and
exhibits.
High Profile
(Monday through Saturday 8 pm)
Spotlighting one artist's music and
career. Refer to High Profile listing
for artists.
Insight
(Weekdays 9:43 am and 6:13 pm)
An editorial comment on current
issues open to the community, tf
you have something to say, call
228-3017, ask for Doug Richards.
Jazz Show
(Monday 9:30 pm-1 am)
An evening of varied traditional and
avant garde jazz on one of Vancouver's longest running all-jazz programs. Now that C-JAZ has become "FM97" this is one of the only places you can hear jazz on the
radio before midnight. Hosted each
week by Gavin Walker. Feature
albums, artists, interviews at 11
p.m.
Lecture Series
(Tuesday and Thursday 11:30 am
-12:30 pm)
Lectures from around UBC concerning a varied cross section of
topics. Tune in and get educated!
Life After Bed
(Monday 1 am-4 am/late night
Sunday)
All kinds of awakening sounds for
night crawlers and insomniacs.
Mel Brewer Presents
(Thursday 11 pm)
A program featuring exclusively the
newest and best in local talent with
new demo tapes, live interviews
with groups and local music figures, debuts of new released and
lotsa hot juicy gossip.
The Mid-show
(Wednesday Midnight-1 am)
The Mid-Show presents a diverse
and sound fluid mesh, from candy
to explicit, engineering a release
ghetto. Directed by the magnetic
loneliness of audio art, video art,
poetry, prose and indigenous
music, the movie soundtracks,
young and old pop and rock, foreign lingo hits and country jostle
about looking for conversation.
Listen in and get a piece of the
action. Hosted by John Anderson.
Music From the Tar Pits
(First Friday of every month
at midnight)
The Knight After and Random
Cacophony present music from
the Seventies.
Music Of Our Time
(Sunday 8 am-12 pm)
Music of the 20th century in the
classical tradition. Hosted by Ken
Jackson, Jay Leslie and Sandra
Thacker.
The New Extended Playlist Show
(Saturday 12:15 pm-4 pm)
Okay, everyone wants to be new, to
be hip and to be just a little ahead
of their time. Cut the jive and swath
through the spectrum of popular
music and put yourself in touch
with what is really happening Now.
Listen to the latest local demo
tapes and the newest singles, EPs
and LPs from Canada, the USA
and from around the world that are
on the CITR playlists, and even
those that aren't. Join Michael
Shea every Saturday afternoon for
four hours of the latest, the greatest, the unforgettable and the
never heard from again,
News and Sports (Weekdays)
Local, national, and international
news and sports. News and sports
reports at 8 am, 10 am, 1 pm, and
6 pm. Sportsbreak at 4:30 pm .
On Saturday and Sunday, regular newscasts air at 12:00 noon
Propaganda!
(Saturday 6:30 pm-9:30 pm)
News, reviews, previews, interviews, recitals, debates, music,
humour, politics. Write to Propaganda!, c/o CITR, 6138 SUB
Boulevard, UBC, Vancouver, B.C..
V6T 2A5, and suggest a feature on
anything that may be of interest to
CITR listeners. If you're an artist of
some sort, or you're involved in
some project or other and you feel
you may benefit from an interview
or on-air performance or a story on
Propaganda!, let us know about it.
Get involved, even if it's only to
recite something interesting you
read somewhere, or wrote yourself.
Do it, 'cause talk minus action
equals zero.
Party With Me, Punker!
(Wednesday 4:30-5:30 pm)
For punk music aficionados: a
solid hour of exclusive punk tunes,
live cuts and info from the earliest
punk to the latest hardcore; everything from The Stooges to G.B.H.
Hosted by Mike Dennis.
Play Loud
(Wednesdays 1 am-4 am/Late
night Tuesday)
...dedicated to the creation of most
of the world's problems. The final
word in musical pleasure through
pain. Music especially designed
for headphone listening or (alternatively) for killing your house-
plants. Of particular interest to deranged vivisectionists, industrial/
experimental addicts and those
who like to dance on the thin fine
between art and noise. Aural surgery performed by Larry Thiessen.
Public Affairs
(Weekdays 9 am-9:30 am)
Current events, issues of local interest and sports. Monday, Wednesday  and   Friday  shows  will
feature either live interviews or in-
depth coverage of a wide range of
topics including social problems
and programs, political events and
community access programs.
Time is available for groups to prepare their own shows. (For more info, call Diane at 228-3017.)
Tuesdays and Thursdays are sports
shows. Tuesday's program, "Pulse
on Intramurals," will on a weekly
basis explore the world of UBC's
intramurals program which, incid-
ently, is the largest such program
in Canada. While Thursday's show,
"Sports Unlimited," will feature
heavy to lighter and more general
sports topics. (For more info, call
Mike    Perley    at    228-3017.)
Random Cacophony
(Tuesday 11 pm-1 am)
The second radio show in the history of civilization dedicated to
solving afl of the world's problems.
Rockers
(Sunday 1 pm-3 pm)
The latest and best in toasting,
rockers, dub and straight forward
reggae. Hosted by George Barrett.
Saturday and Sunday Magazine
(Saturday & Sunday at 6 pm)
Weekend magazine shows presenting special news, sports and entertainment features.
Sunday Night Live
(Sunday 8 pm)
Rare live recordings of noted focal
and international artists.
Uncontrollable Deviance
(Thursday 1 am-4 am/late night
Wednesday)
A show devoted to music that
might be considered "non-traditional." Everything from the Angelic Upstarts to the Zero Boys is
played, with plenty of thrash, skate,
hardcore, metal, post-punk, oi and
great bands in-between. Local
bands are welcome to send in any
material they wany played. Requests and any other input is encouraged. Hosted by Andrea
Garnier.
The Visiting Penguins Show
(Sunday 1 am-4 pm/late night
Saturday)
Your hosts the Funkmaster and the
Screaming Vegetable present
three hours of disorganization,
lunacy, Penguin trivia and, oh
yeah, some music too! Year of the Ox
DISCORDER     a guide to CITR tm 102 cable 100
Survey: To Advertise or Not To Advertise...
CITR is a non-commercial radio station—mean- on PBS or on Co-op Radio—the kind that men-
ing we don't broadcast any commercials or spon- tion that a program is sponsored by a particular
sorships. CITR is the only campus radio station  business. The Canadian Radio, Television and
in Canada that does not have any on-air commercial revenues. The station is funded by the
Alma Mater Society (the UBC Student Society),
through memberships and by revenues from the
CITR mobile sound system—leaving the station
in an often precarious financial position. Radio
cannot live, it appears, on good intentions
alone.
After much discussion about the pros and
cons of advertising and of non-commercial radio,
a number of possibilities have presented themselves as future financial scenarios. Those of us
involved in those discussions felt it essential to
get your feedback and thoughts on the idea of
some form of limited commercial or sponsorship
policy for CITR.
Now, before you scream "capitalist scum sucking haircuts" and hurl DISCORDER across the
room: relax. Our continued broadcasting may
rest on our ability to 'pay our own way' over the
next few years. Reliance on our current funding
sources cannot be counted as a constant—it may
not, depending on the ever-worsening economic
situation, always be enough to cover the costs
of running a radio station. We are looking at other
funding sources, including sponsorships and
limited commercials.
There is a major distinction between sponsorship and limited commercials. Sponsorships are the kind of announcements you hear
Telecommunications Commission, which regulates all broadcasting in the country, limits sponsorships to mentioning the place of business and
the type of product sold. A limited commercial
policy means you can add persuasive language
to the basic information included in a sponsorship—words like special, best, coolest, etc.
The CRTC limits campus and community radio
to the type and amount of spots that can be aired.
The average for most stations is between 2 and
3 minutes per hour of broadcasting. And it is up
to each station to set its own advertising policy,
even though that policy must conform to all commercial boradcast advertising guidelines.
So, we've discussed it at the station, and are
conducting an in-station referendum for members and programmers to decide whether or not
to adopt some form of commercial policy. YOUR
input and opinions are essential to that
decision.
Think about it: CITR with no commercials, as
it is now? Sponsorships? Limited commercials?
Or the possibility of CITR being unable to continue in the future as a fully operating radio
station?
If the future of CITR—your radio station—is
important to you, please fill out the survey form
below and send it to CITR by February 20.
We'll let you know in the March issue the results
of the survey.
Thanks. . .
Please send to:
SURVEY
CITR
6138 SUB Boulevard
Vancouver, B.C. V6T 2A5
Many thanks	
1.
You tell us...
Should CITR adopt a "commercial" policy of some sort?
Yes    No	
If no, why not?   	
If you opted in favour of a "commercial" policy, which do you
prefer:
Sponsorships.
Limited CommerciaL
1. fully produced with music
2. produced, just voice
If CITR adopts a limited commercial policy, what restrictions would
you like to see put on the kinds of advertising accepted? DISCORDER     a guide to CITR tm 102 cable 100
February 1985
Tom Hadju:
Muse and Musicality
"IV/I usic is clear communica-
IVI tion. Too many people are
caught up in fluff." Tom Hajdu is
very determined. He wants to work
and play with our perception ol
space and time. In order to do that,
his intentions must be understood
by those people who perform his
music. Therefore, Tom is actively
pursuing a new timbral language.
Right now, only traditional pitch
related notation is generally understood. But what does this all
mean? Why should you care?
It has often been said that Vancouver has an active music scene.
Unfortunately, few people are
aware of the exciting diversity ol
talents hard at work here. This article, as the first of a series, hopes
to inspire or upset you enough to
listen up. Speedy acceptance of
what you hear is not always possible. For that matter, what you hear
is not always wonderful. But it is
worth the risk. If you don't think so,
just keep banging those two rocks
together. At last, there seems to be
some attention given by media and
award-giving groups to a number
of very talented local people. Some
of those people are composers.
Composers of "art music" have
been un-chic since the twenties
and thirties. But this is all changing now as the divisions between
pop and "serious" culture become
blurred. Who is it bashing away at
archaic musical preconceptions of
both popular and classical audiences? Those once-again chic composers, received alike by audiences and critics with acclaim and/
or infamy from New York to Toyko
to Berlin. Remember these touchstones: Laurie Anderson, Karlheinz
Stockhausen. . .
Internationally, these people
demonstrate a (re)awakened
awareness. They recognize two
needs, first, accessibility for a
[possible new audience; second,
the need to incorporate the merits
of some music not taken seriously
before now, popular and ethnic
[forms. They are not fazed by pop
music, jazz, or even rock videos.
[Their concern is the musicality:
what cultural function does it fill,
and how does it reach the listener?
They are not afraid to have fun, to
entertain.
Tom Hajdu works within this
webbed network of bright young
talents. Compared with the usual
[chronology of classical composers,
[Tom is still fairly inexperienced.
Hell, he's only in his early twenties.
But he sure is getting a lot of at
tention. And work.
Besides composing for pleasure
and academic commitments, he
has spent the last year or two on
numerous commissions. He has
written pieces to accompany dancers, including Karen Rimmer-
Jamieson, and video, from the Inn
view of Paul Wong. Tom's music
ranges from showpieces for virtuosos to strong rhythmic figures for
non-musicians. Unlike many trad-
improvizations. The most recent
example took place during Musicity '84 at the Western Front Lodge:
"The improvs start out with some
general graphic instructions; for
examole, they could say each
player gets a 45-second solo.
These pieces can get fairly complex, with visuals, slide projection,
and dance, perhaps all going at
once. Questions of what coordinates with what have to be answer-
Tom Hajdu
ition-bound people, he is actively
interested in sound, whatever its
source. Playtime (1983) is scored
for amplified baby toys. In case you
didn't notice, there is a sense of
humour here. Conventional instrumentation ranges from solo cello,
in a work entitled "Sgobarre," to
chamber orchestra; several involve
multiple percussion, his own performing element. Tom is using the
traditional means of music notation, but is trying to load it with a
message for the performer beyond
the simple pitch. It is clumsy, but
as yet he hasn't developed a successful written replacement.
Beyond completely written
music, Mr. Hajdu has organized
and taken part in many structured
ed. Also, the instruments involved
' can vary, of course, changing the
nature of the performance."
Success in this field depends
not only on the rough outline but
on the willingness of the players to
work together, and even on the
mood of the audience. I first saw
the improvs at work when Tom did
some at the then Helen Pitt Gallery
back in 1981. Mr. Hajdu will freely
admit there have been a lot of
changes in his approach to structured improvizations, as well as fully written out music, since then.
As you can see, Tom experiments widely and works at a frantic pace. Yet "... I still feel denied
by a lack of knowledge." What
does he mean? Tom realized in his
high school band class that he
wanted a lot more out of music. He
has since then experimented and
listened to how others have expressed themselves. "It must be
sincere. That's why I like the very
early Talking Heads records. They
were not trying to do anything."
Music for its own sake, an honest
expression, not to prove some
point. "It's interesting. Through the
ages art evolves, changes; but
ultimately the general idea is still
the same."
At university, Mr. Hajdu has
taken advantage of all the facilities
available. These include the records and scores in the libraries as
well as the teachers. Right now he
studies with William Benjamin and
Barry Truax, one at either end of
the city and the musical spectrum.
Influences have come from other
composers, including Gyorgy Lig-
eti, B.A. Zimmerman, and Luciano
Berio and the Italian art movement.
The latter struck him with their use
of time/duration to produce tension. Thus, most of Tom's recent
pieces are not long but extremely
compressed, making for intense
listening.
At least that's how it is right now.
Tom has changed dramatically the
more he has learned. He appreciates new knowledge and the exposure to a growing number of
contemporary music issues. He
has in the past written overtly
political pieces. Now he feels that
political concern can be a motivation, but it does not predetermine
the end form. His music has become more personal. The art cannot be enslaved to the politics:
"I want to write musically, with
no other excuse, be it theoretical,
conceptual, or technological. If
these elements end up in my writing, that's great; but I can't set out
with them in mind. At the same
time, I hope it's clear that I am not
trying to be condescending toward
others."
Well, here it is, the end of my
article. You've read all the way
through. Bravo! My hearty congratulations. There's just one problem.
The subject is music. You have to
hear it. And that can involve effort,
even money. But doesn't everything else? You have to decide
what's important. To you. Tom Hajdu knows what is passionately
important to him.
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1255 W. PENDER 681-5201 DISCORDER     a guide to CITR 1m 102 cable 100
February 1985
Re-issues...
forward into the past
Ah the re-issue. When asked to
pen a few words about this
subject I dismissed my task as a
simple one. Grab a few records,
dash off a few words of praise, a
word of caution, and voila—the
story. In truth, it's all a bit more
complicated. There are a multitude
of re-issues released each month.
A company such as England's
Charly Records will re-issue upwards of one hundred albums,
EPs, and 45s each year. In the last
few months I have acquired releases from over ten labels. And
that is only scratching the surface.
The variety of labels is indicative
of the range of types of re-issues
and the range of the sound quality and packaging. Re-issues take
three basic forms: 1. Release of a
deleted or hard-to-find album; 2.
release of a compilation of an artist's material often with rare 45s,
b-sides, and unreleased material;
3. release of various artist compilations.
Major companies are most often
behind the re-issue of previously
released albums. It is cheap and
easy for them to press new sleeves
and albums and throw them in to
the bins. Motown did just that with
large portions of its long-deleted
sixties' catalogue. Usually major
artists such as the Supremes or
Otis Redding get re-issued by the
large American labels but the programs are often incomplete. European labels tend to be more thorough in their issues of both well-
known and lesser-known artists.
Virgin records rescued the first
Who album from the archives and
also re-issued hard to find Small
Faces' discs. James Brown's
music is a favoured focus of reissues in Japan, Germany, and
France. Chuck Berry had his entire catalogue re-issued—in
France! Fantastique!!
More obscure artists, such as
Charles and Inez Foxx (Mockingbird), need the attention of other
types of labels. Here smaller labels
run by enthusiasts and fans make
their presence felt. Labels such as
Eva (France), Line (Germany),
Charly (UK), and Rhino (US),
spring immediately to mind as
labels which devote care and attention to re-issues of an artist's material. Records released on these
labels are invariably accompanied
by comprehensive notes about the
artist and are not restrained by the
"greatest hits" mentality plaguing
the major label releases. Unreleas
ed material, 45s, and a rounded
selection of an artist's repetoire
' form the core of material for these
releases.
Many of the labels are also releasing various artist compilations
featuring hard to find material by
artists who may never have released an album. Soul, blues, rockabilly, R&B, and sixties' punk/psychedelia are the main focal points
and always there is an exciting cultural attachment which makes
them more interesting. Kent
Records have released a wealth of
material by obscure soul artists.
While information is scarce, it is the
sound which is important for it
represents a culture and an era-
Northern Soul. These compilations
vary in quality, since one gets
material by so many artists, but
when they are good, nothing can
compete.
Re-issues such as those released by Kent tend to have small but
enthusiastic audiences. The economics of most re-issues are such
that the sale of even a few thousand copies to that small audience
will pay for a release. Tapes are
licensed, often for negligible
amounts, from a variety of sources.
While they may be inexpensive,
often the tapes have changed
hands so many times that a label
owner needs detective skills to find
them. Charles Mingus's wife spent
years looking for a record her husband released in '56. Only two hundred copies were made, the tapes
were accidentally destroyed, and
only recently did she acquire a
copy of the record clean enough to
use for a re-issue.
Others come more easily. A recent spate of LPs from Bobby
Fuller ("I Fought the Law") arrived
because Bobby's mother relented
under pressure from his legion of
fans and agreed to release the
many tapes stored in her attic.
Where only one album existed
before there are now ten.
And that brings me to a last few
words. It is impossible to stay on
top of the re-issue market. They are
too numerous, even within a defined genre such as soul, to remain
conversant with. Even as I write, a
new»Garnet Mimms LP graces my
turntable. It is fantastic but I cannot afford to buy it and the ten
other releases of the last month.
Re-issues also vary wildly in terms
of music, sound, and packaging
quality. Often the fanatical attention
to detail means that much inferior Year of the Ox
a guide to CITR 1m 102 cable 100
material is released to complete an
artist's story.
Reading is a good way to choose
the worthwile releases. Reviews
appear frequently in the NME,
Goldmine, collectors' magazines,
or in the many books about music
released over the years. Familiarity with labels can also help. Finally, don't forget the stores in town
which feature this material. Ask to
hear. The proprietors can often offer a helping hand.
For those like myself who missed
so much great music, re-issues are
essential. They provide a perspective on the course of music over the
last forty years and place developments of recent years in an understandable context. They also give
us some of the best dance and listening music I can think of. With
those words, let's press on into the
past. Good luck.
A selection from the last year:
Detroit Gold Vol. 1 and 2 - Solid .
Smoke is a Frisco label, providing
many fine releases over the last
few years (James Brown, The Rock
and Roll Trio). Recently their emphasis has been on soul. These
volumes focus on the producer
Ollie McLaughlin. He, along with
Tony Hester and Popcorn Wylie,
was one of Detroit's most exciting
non-Motown producers. The best
known artist here is his biggest
signing, Barbara Lewis, singing
"Hello Stranger" (a number one
nationally in 1963). You'll also find
the Capitols ("Cool Jerk") and the
Fabulous Counts ("Jan Jan"). Excellent notes and recording make
these worthwhile.
Detroit A Go Go - Fab but unan-
notated collection of non-Motown
Floorstompers. This album showcases the writing and producing
talents of Hester and Wylie. Hester also checks in with his wonderful atmospheric "Spaceland"
while Wylie gives us the psychedelia of "Rosemary," a song about
Rosemary's Baby.
Kent Records - This label has
released close to twenty compilations of obsure 45s. Surprisingly,
most of them are pretty good and
may are excellent. Usually they
focus on a label (MCA, Brunswick).
Musically they range right up to the
mid-seventies (Floorshakers, Moving On Up), and include pure
dance albums (Floorstompers, For
Dancers Only),, soul albums (Slow
n' Moody Black n' Bluesy), and include a mixture of styles (Shoes,
Soul Agents). You'll find some
familiar names (Bobby Bland,
Jackie Wilson) but mostly unknowns, at least to a young honky
like myself. My favourites are
Shoes, Soul Agents, Soul Spin, For
Dancers Only, Gems, Where the
Girls Are... You pick your own.
Soweto - Released through Rough
Trade, this is a fantastic collection
of South African music. It's a little
less pop than the equally good
Zulu Jive collection. The album
features material from the Apollo
and VUMA labels. Although this
music is all over black South African radio, the records are hard to
find. Recording quality is good.
Highly recommended.
Rare Soul Uncovered - A typically Charly issue. A faultless collection of soul music primarily dance-
able but with the odd slow track.
Best known here is Betty Everett
with "Gettin' Mighty Crowded" (Van
McCoy, Elvis Costello). Excellent
liner notes give a detailed overview
of the Northern Soul scene and
comments about each artist.
Excellent.
Laura Lee - The Rip Off is my
favourite re-issue in some time. It
features Laura Lee's magnetic and
gritty voice coupled with some
hard R&B rhythms that typified the
Hot Wax sound—driving drums
and conga, solid brass, piano and
guitars providing busy counter-
rhythms topped off by powerful
horns and chorus. The lyrics of
Laura Lee songs are all "feminist"
in nature. They state the women's
side—and strongly. At the same
time they can be suggestive—and
wonderfully so. On occasion she,
like all Hot Wax artists, sang about
Vietnam and its waste of lives. And
always Laura Lee says—I'm not
submissive so f-k off! Titles like
"Wedlock Is Padlock," "Women's
Love Rights" and "Ripoff" tell the
story. Working with Greg Perry,
Popcorn Wylie, and Lamont Dozier,
Laura Lee produced some of the
best undiscovered R&B ever. Get it.
—Jeff Kearney
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604 224-2344 a guide to CITR 1m 102 cable 100
February 1985
V1XYLVER£>1CT
Laurie Anderson
United States - live
Laurie Anderson has become a pop star. Of
sorts. And like all pop stars she has released a
live album. Of sorts. The domestically- released,
boxed set of five records contains the complete
audio of her epic length work United States, Parts
1-4. With an artist who is constantly working with
new technologies it is amusing to not find the
set on compact disc. (Still, the sound is very
good, especially for a live recording.) I suppose
the record company considers it a risk to put out
such a massive set from somebody who, before
now, has only had two complete albums to herself. Maybe that explains their unwillingness to
give a promotional copy to CITR.
Anyway, this recording of the whole thing was
taped at performances in New York almost two
years ago, after the release of Big Science, but
preceding the appearance of Mister Heartbreak.
Many of Anderson's quirky, slightly ironic
favourites are here, including "O Superman",
"Language is a virus from outer space", and all
the others that have been excerpted from the
overall framework in previous recordings going
back at least to 1974. In their presentation here,
order, length and context are shifted to fit both
the larger form and the limitations of live
performance.
Ultimately, I find the records disappointing,
simply because they are just records. Laurie Anderson is one of the most skillful live performers
around. Her utilization of electronics and realtime computer technology have made her work
unique. But these are not used for the music and
text alone. The visual part of the show is equally important and exciting. I suppose the only way
to capture some of that would be to issue video
discs. People who see her shows are struck by
the successful integration of charismatic live
performer, mixed video/film/slide/ shadow projections, "terrific music, uh huh", live electronics
and pop sensibility. What helps make this all
even more palatable is the sense of humour that
runs rife through it all. She is able to make fun
not only of herself but also everything else she
finds, mixing the bizarre and the banal without
distinct separations. Much of the humour is still
apparent on the records, but some is clearly lost
since I can't see what accompanies the sound.
Overall the performance is not at the same
dynamic level as her May 1984 show in Vancouver. If you have never seen Laurie Anderson
before you may not understand from this recording what all the excitement is about; it is inconsistent. For those who are already devotees,
these records will offer the means to examine
more closely all of United States. Only the most
fanatical could carefully listen through it all at
one sitting without losing their mind; the mood
is too static. (Mind you, if forced to sit through
something from the minimalist school, I would
take Laurie Anderson over Philip Glass every
time.) Just remember as you hear these live
records: you're getting about half of what was
going on in Brooklyn these three nights in 1983.
Whether that is enough to justify buying a five-
record set is up to you.
—Paris Simons
Stranglers
Aural Sculpture
Let's destroy cliches for a change. The
Stranglers are all too often referred to as 'The
Evil Men in Black.' This is just too easy and it Year of the Ox
DISCORDER     a guide to CITR 1m 102 cable 100
doesn't do much justice to the old boys. It probably amuses them though, and they certainly
wallow in it: three old guys and a baby-boomer
(not a yuppie), such a title is more than what they
would have hoped for. However, the Stranglers
are much more than that, the exceedingly cool
all-in-black-on-a-bun image is restrictive.
In 1977, Rattus Norvegicus IV came out.
Gregorian rock. Outsold The Bollocks in Britain.
It was the beginning of their nasty sulfurous
period which combined elements of Stonehenge,
Prussian moodiness and French philosophy.
Nothing less.
It seemed then that they were also what the
Doors could have become if Jimmy had been a
bit less into whimpering and his little buddies had
been less twitty. Much later came Men in Black,
pretentiously didactic. Then in 1982, with Feline,
the Stranglers surprised us again. The iron-grip
in the velvet glove, astonishingly melodious.
Strength, elegance and mystery, the Marquis de
Sade meets Mozart.
But this is all history now. This new opus is
even livelier than Feline was. Almost too easy to
enjoy, where is the catch? New turn of events and
virgin territory for the Stranglers. American sound
influence this time, Stranglerized of course. And
immaculate production by Laurie Latham (remember Paul Young's No Parlez?).
Hugh and the boys always try do to the opposite of what we expect from them. That is probably the only thing we can count on. Do not take
the Stranglers for granted or you will look like a
fool on a bun. They are very proud of themselves
and don't really give a flying duck about what
the general public thinks they ought to do. Said
general public including, of course, hard-core
Strangler's fans.
Aural Sculpture is a dance album, a return to
the simplicity of R&B. JJ Burnell must have had
a fair bit of influence in this new change of style.
His solo LP Euroman had strong R&B overtones
and used Lew Lewis on harmonica. A.S. was
recorded at ICP studios (Polyphonic Size, TC
Matic) in Brussels where Feline was also done.
Now, as ever, the Stranglers want to stay away
from the rapidly degenerating British mainstream. Note the synthesized continental sound.
As usual with a Stranglers album, all the cuts
are recommended, especially "Skin Deep" (the
first single), "Punch & Judy," "Spain" and the
destined to become a true classic—'Souls."
—Rocking Patrick
Dali's Car
The Waking Hour
Remember when you were a kid how much
fun it was to kick your shoes off and wallow barefoot through warm muck? There was something
overwhelmingly sensual about that soft, slimy
ooze as it squirted through your toes which made
a lot of things worthwhile, even the obligatory
wrath of your parents.
You're older now, of course, and like it or not,
your warm muck days are pretty much over, if
for no other reason than most of your friends probably wouldn't want to know you anymore if you
took to kicking off your shoes and wallowing
every time the mood struck you. It's a good thing
then that the aural equivalent of that experience
is currently available on vinyl, on an album called The Waking Hour by a new band out of England who call themselves Dali's Car. Forty odd
long playing minutes of the best kind of oozy,
gooey musical muck.
Dali's Car comes our way on the heels of a fair
amount of advance hype from the British musical
press. They're a (quote) "supergroup" representative of the somewhat artier side of British new-
wave pop (or whatever you want to call it), consisting of Peter Murphy (lyricist and vocalist) ex of
Bauhaus, Mick Karn (composer and multi-instrumentalist) ex of Japan, and Paul Vincent Law-
ford (rhythm constructor?) (that is, whose haircut certainly looks Japanish).
With a cover painting depicting two beautiful
children alone in a Utopian landscape of lakes,
mountains and classical architecture, and song
titles like "Artemis", "Create and Melt" and
"Cornwall Stone", Dali's Car clearly appears to
be striving for more than just your standard commercial success. This is a serious group.
I've heard them criticized as pretentious on
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February 1985
more than one occasion. Unfortunately, as I've
never really been able to figure out what pretentious means, I can't honestly respond. All I know
is I like the album. Musically it's strong and unique, built for the most part on the subtly shifting
lines of Mick Karn's fretless bass. Lawford's percussion is sparse, polyrhythmic and unpredictable. Keyboards, accoustic guitar and what
sound like woodwinds (they're probably synthesized) fill the empty spaces and provide the
aforementioned inspired muck which is so
delightful to lose your ears in. There are no power
chords!
Peter Murphy's vocals are understated (sorry
Bauhaus freaks, no screaming here). His lyrics
are surrealistic, taking the lead from the band's
name no doubt (or is it vice versa?). Passion appears to have been sacrificed for mood and, on
this occasion at least, it's a good move.
The Waking Hour is an engaging album. Like
its cover, it speaks of alternative realities and pos
sible Utopias (the stuff of dreams as it were)
which is something I feel music should do every
now and then. Recommended for lovers of the
exotic and nostalgic mud wallowers everywhere.
—by Bill Mullan
Alien Sex Fiend
Acid Bath
Alien Sex Fiend embodies everything that
makes up a bad dream. At least they're hoping
they do. (I can hear people snickering out there
already.) But I'm not talking about a real nightmare—a night of pure hell when the Third World
War rages in your unconscious, when the ego
teams up with the superego to battle the id to
punish you for all those nasty, suppressed
thoughts you've conjured up during the day. The
Some comoanies would say anything to get your attention, like |ust saying the words
we wouldn't, we think that's tacky
We do have an idea that's worth looking at though. For as low at .75*,
we'll rent, that's right, rent you any record in our store. Think about it.
Renting records instead of buying. Our stock is professionally maintained, cleaned, and rotated regularly, plus we have thousands of
albums to choose from. Are you tired of attending the boring drip dry
Christmas & New Years parties. We can turn you into Mr. & Mrs. Disc
Jockey. You'll be the hit of your function. Got nothing to do on those
miserable, wet evenings & weekends. Come in, grab a stack of wax, lay
back and enjoy. Or how about those special parties, exercise classes or
romantic evenings where you need just those right tunes. Let us be
your record library. You can't afford not to.
Breeze
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scenario is familiar to everyone I'm sure: running but never escaping; foggy, vague surroundings; bizarre situations. Waking up puts one
back in the real world, but the mental torment
persists. ASF's bad dream is not nearly so sinister. It's more in line with Hollywood's versions
of vampires, monsters and (un)dead bodies-
sort of like Hallowe'en or one of those scary
houses at the PNE. That's why it's so easy to
laugh at ASF. Admittedly this batcave concept
is trash, but keeping the above distinction in mind
makes it easier to take ASF at face value and
even enjoy it a bit, like Hallowe'en.
Acid Bath is ASF's full-length successor to
Who's Been Sleeping in my Brain. The more
things change, the more the stay the same. With
Acid Bath you'll still find the essence of ASF-
tacky cover, music to grind your teeth by and lyrics chock full of references to all things unnatural
and rotting. What's new is a quantum leap of improvement in production. That which was so
awful on Who's Been Sleeping has been reprised by more clear and concise engineering and
t*eie»'W: \FB» I
*B1~«!«.!
mixing that at once improves ASF's sound and
the album's receptability. Still no bass, but Nik
Fiend's vocals growl and snarl over a better-balanced sound that adequately covers up that deficiency. Hand-in-hand with this better production
is a more relaxed feeling about the album, like
it's less forced or contrived. Using tape loops and
voice overs as seques between songs makes the
album, while not exactly a concept piece, more
cohesive, not merely just a collection of songs.
Acid Bath contains a re-worked version of
"Dead and Buried", a single that has slid up and
down the charts and is still a favorite at some
local clubs. The newest single is "e.s.t. (a trip to
the moon)". As the last minutes and seconds tick
off before 5 o'clock, the worker—hypnotized by
the repetitious drudgery of moving machinery-
pines "There must be more to life / Than this /
I think I need some e.s.t. / Or a trip to the moon."
E.s.t. stands for electro-shock therapy, rather
than anything from Werner Erhard's background.
ASF consistently interprets tormenting afflictions
like depression in an unrealistic, off-the-cuff way.
But this flippancy is balanced by tension-evoking
music—not manic or schizoid, but the restrained, urgent pathos that one finds with depression.
The result is a song that catches your attention,
but who cares as you bop around your room?
So, ASF pulls a bit together for this album, but
still falls far short of Bella Lugosi's favorite fans,
Bauhaus, in producing serious music with a
worthwhile statement. But ignore all that, ASF
has not been put on this earth for that purpose.
To quote "Dead and Buried": "Never eat anything with flies on it, Know what I mean?"
—by Beverly Demchuk Year of the Ox
DISCORDER     a guide to CITR 1m 102 cable 100
HUXKHUHHAT
••**•*•************•**••*••*•**•
You only have time to pick out ten records to take
with you to the fallout shelter. Ten records that you'll
have to listen to for the next fifteen years. If only you
had more time. If only you had made yourself a list
of your favorite ten records and sent it in to:
Bunker Beat
c/o DISCORDER
6138 SUB Blvd., UBC,
Vancouver, B.C., V6T 2A5
The Undertones - The Undertones. 1979 Pop-punk at
its best. "Teenage Kicks" and "Jump Boys" are gems.
Hopefully there will be chocolate bars and. girls in the
bunker.
The Rolling Stones - Out of Our Heads. There is no
denying it, Mick and the boys were the greatest rock
'n' roll band in the world. This is a true classic. Satisfaction guaranteed.
The Stranglers - Black and White. For the days when
I feel moody and my bunkermates better be careful
about what lurks in the shadows.
Grand Funk Railroad - Mark, Don & Mel '69-71. A double album, 81 minutes of the best white noise ever
made. Guaranteed to drive everybody else crazy. To be
played at maximum volume. (That's eleven.)
Public Image Limited - Paris un Printemps. Mr. Lydon
at his finest—before he became so disgustingly pleased with himself. Keith Levene on guitar.
Flipper- Generic Flipper. On the Subterranean label,
very appropriate. "Sex Bomb" and "I Say You Shine."
This record was made especially for the day after.
Abba - Greatest Hits Vol. 1. Gimme a man after the
holocaust. Few people understand how great a band
Abba is (except, of course, Jon Anderson). Also it has
a picture of Agnetha.
Bad Manners - Forging Ahead. I've heard this one a
million times and will listen to it a million more. Need
at least 5 copies of it. Great beer drinking music, not
to mention moonstomping.
Pierre Henry - Ceremony. Music by Pierre and Gary
Wright of Spooky Tooth. Good to hammer spikes into
your head by, or perfect for recreational drugs.
Wanda Jackson - Only Rock 'n' Roll. This is for all
the parties we will be having in the bunker during the
next 15 years. Whole lotta shakin' and Rip it up; what
else is there to do?
Mark One
Peter Gabriel - Peter Gabriel. ...the melting-face
album. I just wanted to be the third person to start his
list with this record. There's not much else I can say,
it's a masterpiece.
Elvis Costello - Armed Forces. Snappy, energetic
music with acid-tongued lyrics. The best of both worlds.
Marianne Faithful - Broken English. In the age of
angry records, this is the angriest, because it's not overly theatrical. Her version of "Working Class Hero" still
throws a chill into me.
Iggy and the Stooges - Raw Power. With titles like
"Gimme Danger," "Death Trip" and "Your Pretty Face
is Going to Hell," it could be argued that the whole thing
is too self-consciously "nasty," but it's a!! in good fun.
This 1973 Iggy Pop record features rotten sound mixed
by David Bowie which makes it sound like a bootleg
when it isn't. Raunchy as hell and great at parties.
Charlie Parker - The Very Best of "Bird" The double
album WB set with the silver cover contains material
originally on the Dial label, recorded between 1946-47,
along with his legendary Savoy sessions. This music
represents one of the highest points in all recorded jazz.
Bella Bartok - Music for Strings, Percussion and
Celesta. Modern classical music that you don't have
to be an initiate to enjoy. Stanley Kubrick used excerpts
in The Shining. Richly atmospheric and extremely
exciting.
Jimmy Cliff - The Harder They Come. Actually, he only
does about half of it, the rest is a selection of tunes by
Desmond Dekker, Toots and the Maytals, The Slickers,
etc. It could have a bit more music on it for the price
(they repeated two of the Jimmy Cliff numbers to "pad"
it), but it's still an ideal reggae sampler.
Laurie Anderson - Big Science. Mr. Heartbreak is more
musical, while Big Science is more the intellectual of
her two albums. It says more about America than all
of Frank Zappa's records put together.
Ry Cooder - Chicken Skin Music. A great blend of
R&B, Tex-Mex, and Hawaiian that is infinitely superior
to his slicker, more recent releases. Superbly played,
but relaxed, it's a good Sunday afternoon record.
J.S. Bach - Brandenburg Concertos. ...performed on
original Baroque instruments by the Concentus
Musicus Wien (Teldec Digital DMM). Treat yourself to
both volumes, if you,can afford them.
Ken Jackson
Lou Reed - Metal Machine Music. Obviously an album
created with a clear concept of the joys of post nuclear
abberation. If all my records were destroyed in the holocaust I am sure these would be the dominant tunes running through my mind.
John Lennon & Yoko Ono - Unfinished Music No. 2.
Yoko is one of the most well-known unknown artists of
our time. I am sure side two's experiments in primal
screamery would definitely fit the mood of the occasion.
Velvet Underground - White Light/White Heat. An
awful lot of people pay lip-service to the Velvets these
days; personally I cannot imagine any post-nuclear hell
without the gentle ambience of "Sister Ray" or "I Heard
Her Call My Name."
Walther Laboratories - Sound Effects. "Memories, like
the chorus of my mind..." Ah, yes...who could live in a
radioactive condo without those tantalizing aural
memories like, say, a train rushing through your bedroom or a peal of bells from Big Ben?
Yes - Relayer. "The Gates of Delerium" is a self-
explanatory cut, and needs no further definition. The
only qualification necessary for the postulated post-
nucler environment would be the destruction of the pretty melodic ending to this song (preferably by scratching
with bone chips).
Joy Divison - Still. Ian Curtis was right. Fuck it all, and
you too.
"General Electric Theatre" narrated by Ronald
Reagan. No colleciton of post-atomic goodies would be
complete without a token from the man who made it
all possible.
"Jonathan Livingston Seagull" narrated by Richard
Harris. Welcome fuel for post-nuclear hatred. Listening to the drivel of this messianic parable would alleviate
the boredom of searching for cooked birdmeat in the
rubble.
Paul McCartney & Stevie Wonder - "Ebony and
Agony" Ha ha ha ha ha ha ha ha ha ha ha ha ha ha...
Collectors RPM "Undergrowth" OK, so I've got taste.
What's new?
Laurie Mercer
Jazz, Rock, Import Rock, Folk, Blues and Used
2936 Wl 4th Ave., Vancouver, B.C.  V6K 1R2, Phone 734-2828
•*»   «*j» »■■«»
:ambiefc
rockrnccUr^ DISCORDER     a guide to CITR 1m 102 cable 100
February 1985
SCRITTI POLITTI - Hypnotize
Have lots of paper towels handy, because you'll
have to pour this one onto your turntable. This
one is strictly Aunt Jemima except that Green
Gartside, tragically, isn't black, not that it
would've made any difference on this awful
record. To make matters worse, he thinks "Hypnotize" is such a great song that he's deigned
to bestow 3 "alternate" versions of pudding upon
us. One helping had me hugging the porcelain.
FASTBACKS - Every Day is Saturday
If I may be allowed to gush for a moment, the
Fastbacks are one of the top bands in the Pacific
Northwest and certainly my favourite Seattle
band at the moment. Their 1982 debut EP Fast-
backs Play Five of Their Favourites, was the best
teen angst overdrive to hit these parts since the
Modernettes Teen City EP. So now, two years later
and all we get is a measly four-song EP. Wonderful stuff, though. "Midnight Concessions"
and "What Will They All Say" are two of those
kind of songs that one hums in the shower. "See
and Say" and "Only at Night", while perhaps
lacking the infectious hooks, more than compensate with the energy and excitement that is the
Fastbacks' live trademark. A record well worth
the wait but let's hope we don't have to wait two
years for the next one.
NJF - Wounded Knee EP
Seldom is anything this rough and unrefined
exported from Toronto, where "distortion" is
usually a dirty word. NJF (Negro Jazz Funeral)
is a welcome exception. What we have here is
an appealing but not particularly innovative combination of churn and burn. "Wounded Knee"
is a catchy (?) swaying, two-chord fuzz drone
replete with Liquid Plumber vocals. Good Qua-
lude rock. The other three songs on this record,
"Sitting Pretty," "Happy Sad" and "Drag it Out"
are short rapid-fire bursts that are, for the most
part, indistinguishable from one another. Entertaining none the less. This is a record worth looking for.
IAN McCULOCOCH - September Song
After the sheer silliness of "Cockles and
Mussels" I had the poisoned pen primed to tear
a strip off of lan's latest offering, a version of Kurt
Weil's "September Song." Actually, it's rather
pleasant, due mainly to the quality of McCol-
loch's voice and the lush production work. But
there's not enough here to make it a record worth
buying, which makes me wonder how long lan's
record company will continue to bankroll this
whimsy. Maybe they figure that, by getting it out
of his system, he'll subsequently put a bit more
bite back into the spiralling Bunnymen. Given a
prima donna like McCulloch, that would be wishful thinking.
MONTY CANTSIN w/ FIRST AID BRIGADE -
Mass Media/Chanson a mourir/Fake Science
Apparently, Monty Catsin and F.A.B. represent
the most recent phase of the Neoist Movement,
a pseudo-religion of which Cantsin is the founder
and mentor. Don't ask me about the tenets of
Neoism; they seem to inspire a Krishna-like confusion. Cantsin calls Neoism a "cultural conspiracy" the aim of which to to grab the lion's
share of the communication pie. "I refuse to leave
technology to the Other Guys I refuse to let them
have all the fun, fun, fun," he barks in "Mass
Media," the showcase tune, and easily the best
of the three. If you can ignore Cantsin's almost
messianic fascination with his own blood (he
sells it as art, you see) you should get a kick out
of this thumper. But as a tool of subversion... well,
I wasn't inspired to go out and shoot a video or
anything.
FUNKMEISTER - Wardance/Battlebeat
Plagiarism is not an ignoble pursuit within the
context of pop music, but those who steal clumsily should be indicted. Given that, Funkmeister
ought to be sentenced to life in prison for just
plain lazy larceny. Nothing more than another
dance floor history lesson a la Frankie Goes To
Hollywood's "Two Tribes." Think of it—learning
all about World War II while writhing down at the
discoteque. Kinda like falling asleep on top of a
book. A must for Neville Chamberlain fans.
SID PRESLEY EXPERIENCE - Cold Turkey/
Firewater/F for Fake
So what if John Lennon wrote it? "Cold Turkey"
is a great strangled shred of painful pop withdrawal. If you're planning on kicking the habit
(whichever one), this is not for you. "Firewater"
and "F for Fake" are more along the lines of last
year's "Public Enemy No. 1" and "Hup Two
Three Four," short staccato stabs of a vaguely
surf-derived variety. THese two seem to lack the
harsh edge of the earlier stuff, but they're still
worth a good stomp.
—Steve Robertson
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DISCORDER     a guide to CITR fm 102 cable 100
SOCIAL MENACE - Hardcore '84
I like politics and social comment in music. I don't like hardcore,
especially when the potential value
of the lyrics is negated by having
the already near-incoherent barked vocals buried in a largely outdated mess of metal and percussion. I can understand all too well
the need to express anger and disillusionment as in some of the cuts
on this tape: "No Hope," "Suicide,"
"Alcohol," "Company Slob," etc.
etc. However, the expression of
sentiments in the musical style
known as hardcore is, more often
than not, a degenerate, nihilistic
stance, more conducive to ending
one's problems by self-destruction
than by changing the world for Vie
better.
I prefer the more inspirational,
clenched-teeth anger of something
like the Style Council's "Money Go
Round" or Wahl's "Somesay." Militancy with menace! Meanwhile,
hardcore has become style without
content, as idealogically self-indulgent as late 60's 'progressive' rock
and heavy metal. Its pretentions to
radical politics are more than a little contradicted by its inherent
chauvinism and crass machismo.
How many female hardcore bands
do you know?
To the few hardcore bands that
manage to avoid all these pitfalls,
congratulations and good luck.
The rest can dance dance dance
dance to the music of the last
chance man, hope you find your
amphetamine nirvana, an' say hi to
Sid when you get there.
•••••••••••••••
WONDERLAND - Bedtime Story
Three eager power-pop tunes
fleshed out with synthesizer. Fills
the vacuum left by a cast of thousands of other young local bands.
While it's commendable that a
young band such as this (average
age 18, age of band—five months)
should release something on tape
so soon, they must be cautioned
against being too hasty; and they
might have been wiser bringing in
someone to produce them rather
than producing themselves, at
least until they have a more tangible product which won't get swept
away in the torrential rain of similar
stuff.
•*•••••••••••••
ID GUINESS - Beat the Heat
Methinks your tape got sent to
the wrong radio station, mate. ALGAE, the 'gnu music' station (har,
har...Hey...GLMPH!), lives downtown. They would REALLY DIG!
your GROOVY TUNES! coz they
ROCK! with a SYNTHESIZER! and
SHUCKS, HEH HEH! that makes
you sound like one of those GNU
BRITISH INVASION TECHNO-
POP BANDS! shoutsquealholler
frothgush...
•••••••*•••••••
DIRECT STIMULUS - A Cup/
Caught in the Clock
A direct stimulus is exactly what
these guys need. I've heard that a
big electric shock often puts a
much-needed spark into many
people. It can have one of two
results, either of which would be infinitely more humanitarian in its
own way. This is the sort of bland-
ness that makes you ask 'so what!'
•••••••••••••••
THE BRITISH PROPERTIES -
Indians in Paris
Demo of the month. Steady
tribal drums provide the backbone
for this uncluttered pop tune. Subtle yet catchy. The singalong
chorus will get its hook in to you
and then you'll have to like it! I don't
have a clue what it's about but it
contains the soon-to-be-immortal
line 'There's a whole lotta scalpin'
goin' on!' Eat your heart out Jerry
Lee Lewis. Nice name too, The
British Properties. It might start a
trend. Anyone for a band called
Port Coquitlam? How about University Endowment Lands....! Just
kidding.
—Sukhvinder Johal
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mhjj
SALES    ^^  RENTALS
1829 WEST 4TH AVE. AT BURRARD 7340411 DISCORDER     a guide to CITR fm 102 cable 100
February 1985
CITR TOP 20 SINGLES
CITR TOP 20 ALBUMS
ARTIST
TITLE
LABEL
ARTIST
TITLE
LABLE
1 DISAPPOINTED FEW
1 BILLY BRAGG
Brewing Up With...
CHRYSALIS/
PEOPLE
Fuck With Christ
NIT BATTERIE
POLYDOR
2 TONES ON TAIL
Christian Says/Twist
BEG.BANQUET(UK)
2 LES CALAMATIES
A Bride Abbatue
NEW ROSE (FR)
3 BONZO GOES TO   '
3 LOS LOBOS
How Will The Wolf Survive? SLASH/WEA
WASHINGTON
5 Minutes
SLEEPING BAG (US)
4 GRAPES OF WRATH
Grapes of Wrath EP
NETTWERK
4 WHITE ORPHEUS
5 THE POGUES
Red Roses For Me
STIFF (UK)
PROJECT
White Is the Knight
EPOXY
6 LAURIE ANDERSON
United States Live
WEA
5 THE LOFT
Why Does The Rain?
CREATION (UK)
7 ARTO LINDSAY
Envy
EG/A&M
6 STRAWBERRY
8 LLOYD COLE & THE
SWITCHBLADE
Since Yesterday
KOROVA/WEA
COMMOTIONS
Rattlesnakes
POLYDOR (UK)
7 RED HERRING
Love Machine
"DEMO**
9 THE RAMONES
Too Tough To Die
SIRE/WEA
8 MOEV
Alibis
NETTWERK
10 SKINNY PUPPY
Remission
NETTWERK
9 SISTERS OF MERCY
Walk Away
WEA (UK)
HTHEdB'S
Like This
BEARSV./WEA(US)
10 WALL OF VOODOO
Big City
IRS (UK)
12JEAN-MICHELE
11 NG3
Sheltered World
-DEMO**
JARRE
Zoo Look
POLYGRAM
12 NJF
Wounded Knee/Drag It Out
GREEN FUSE
13HUSKER DU
Zen Arcade
SST (US)
13 THE WEST
I Show No/Face of the
14 BEVERLY SISTERS
Beverly Sisters EP
DADADG
Earth
**DEMO**
15 JULIAN COPE
Fried
MERCURY (UK)
14 HOUSE OF COMMONS Peter Gunn/lnsane
**DEMO**
16 COCTEAU TWINS
Treasure
4AD(UK)
15 HERALD NIX
Fugitive Kind
"DEMO**
17 THE REPLACEMENTS
Let It Be
TWIN TONE (US)
16 STAPLE SINGERS
Slippery People
PRIVATE l/CBS (US)
18 ORANGE JUICE
The Orange Juice
POLYDOR (UK)
17 UNITED STATE
Glass Knight/Automaton
VICTORY
19 HOODOO GURUS
Stoneage Remos
A&M
18 SLOW
There's A Burning God
20 PENGUIN CAFE
Inside Me
"DEMO**
ORCHESTRA
Broadcasting From Home
EG/A&M
19 OUT OF PROPORTION
Radio Void
"DEMO**
20 CELEBRITY DRUNKS
Ode From A Dreamer
"DEMO**
FAST FORWARD NEW RELEASES
A numbering/playlist is not applicable here. All of this material can be heard on
Fast Forward over
the next month
or two. It is all available locally. For more information, or
if you'd like to request
some of these releases on a Sun-
day night, call in
at 228-CITR.
ARTIST
TITLE
LABEL
VARIOUS
Life At The Top
THIRD MIND (UK)
WINSTON TONG
The Hunger ('B'side only)
CREPESCULE
VARIOUS
L.A. Mantra II
TRANCE PORT (US)
(BELGIUM)
HERMINEDEMORAINE
Lonely At The Top
SALOME (UK)
BUSHIDO
Among The Ruins
THIRD MIND (UK)
PAULDOLDEN
The Melting Voice Through
STEPHEN SCOTT
New Music for Bowed
Mazes Running
N/A (VANCOUVER!)
Piano
NEW ALBION (US)
DEBILE MENTHOL
Battre Campagne
RECREC(SWIT2.)
UNREST, WORK & PLAY
Informs
RECOMM.(UK)
VARIOUS
Myths. Instructions I
SUB ROSA (BELG.)
ERNEST SCAVENGER
The Voice
C&P(VANC.)
WOMBAT/ savoy
FEBRUARY!
rU£SOAV
s'ar denotes
cover at
*concsoav
T"Hu«soAr
f««OAy
s*^«oX7
<-over at w^
c,u° opening J|^
^^TRE^TlC^
*®to WITH     .RT BERGWW*"'    I   -. u ^——-*^B->-^~
R*8. SOUL j
rock
and
roll
with guests I
NO COVER 7=30-900!
HAPPY HOUR 7=30-900
THE SAVOY NIGHTCLUB   6 Powell St., Gastown, Vancouver, 687-0418 NEW LOCATION!
Cut Price Records
2528 Main at Broadway
~-hw oi wrath Ep
i ne Work Pmy EP
S   Wtf Vancouver '84
2 cassettes
^oned 'Poisoned,
1000'sofUJClMp
^-^iyj£g in Feb '  TS
$4.99
$5.49
$4.49
$4.99
_$199
$6.99 11 I
$9.99
$6.99
COI LECTORS RPM
DOWNTOWN
456. SEYMOUR ST.
685-8841
COLLECTORS RPM
4470 MAIN ST.
VANCOUVER, B.C.
876-8321
CUT PRICE RECORDS
1635 COMMERCIAL DR.
VANCOUVER, B.C.
UNCORDS BORN IN THE USA
&     Replacements - Hootenanny
#&>        Minutemen - Double Nickels
^ I   Various Artists - Old Demon
* the Bunnydrums - Ho/y Moly
Flipper - Gone Fishin'
Various Artists - Best of Ralph
jj|/    Replacements - Let It Be
Various Artists- You're A Hook
RECORDS     •      POSTERS     •     T-SHIRTS     •      BOOKS     •      MEMORABILIA

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