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Discorder CITR-FM (Radio station : Vancouver, B.C.) 1986-01-01

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 THAT MAGAZINE FROM CITR FM102 CABLE100
JANUARY 1986 • FREE I WHEN IN SOUTHERN CALIFORNIA VISIT
U1
NIVERSAL STUDIOS TOUR I
T HE     HIT     BR I T I S H      CO M E*D Y
THEY CAME,
THEY SAW,
THEY DID
A LITTLE
SHOPPING.:
NEW FROM BRITAIN'S
COMEDY TEAM OF
"NOT THE 9 O'CLOCK NEWS"
"An off-beat British spoof
about some dimwitted aliens
whose space ship crashes
onto an Earthly freeway,
whereupon they are examined
and exploited by equally
moronic humans. It's an
amusing satire on man's
preconceptions about space
aliens and how to deal with
them."
—P. Stack,
San Francisco Chronicle
GRIFF RHYS JONES
MEL SMITH
MORONS
FROM OUTER SI&CE
THORN EMI SCREEN ENTERTAINMENT Presents
GRIFF RHYS JONES MEL SMITH JAMES B. SIKKING DINSDALE LANDEN
MORONS FROM OUTER SPACE
With JIMMY NAIL JOANNE PEARCE PAUL BOWN Screenplay by GRIFF RHYS JONES and MEL SMITH
Executive Producer VERITY LAMBERT Produced by BARRY HANSON Directed by MIKE HODGES
A UNIVERSAL Release
COARSE LANGUAGE & SUGGESTIVE SCENES
1
"A good natured British farce...
irrestible."
—Janet Maslin,
New York Times
Students $3.50 with cards
DAILY AT 2:00, 4:00,
6:00, 8:00, 10:00
Screen
Entertainment
ALL SEATS $2.50 BEFORE 5 PM — $1.99 TUESDAY Studio <?i,
EVERY FRIDAY & SATURDAY
AT 12:00 MIDNITE
$5.00
ALL AGES ADMITTED
A COMIC MUSICAL SATIRE
ON SEX - B.C. DIRECTOR
a future   you'll probably live
58   ra«yyF
lan R rated, rather kinky tale of survival
Before Miami Vice...Don Johnson
starred in this black cult comedy based on
Harlan Ellison's story about a man and his
talking dog who forage a post-holocaust
future landscape. (We finally found it!)
OPENS JANUARY 31 st
Studio <2i
nemo, downtown 681-1732 Editor
CV/ra Dafoe
Contributors
./asort Grant, Mark Mushet, Kevin Smith,
Beverly Demchuk,   Larry Thiessen,
Bill Mullan, Brent Kane, Janis McKenzie,
Julia Steele, Jay Scott
Photos
Ross Cameron, Dave Jacklyn
Cartoons
R. Filbrant
Production Manager
Pat Carroll
Design
Harreson At ley
Layout
Pat Carroll, Karen Shea,
Beverly  Demchuk,   '
Garnett Timothy Harry,
tobv Thiersch ,
Program Guide
CD, PC, J. Mc.
Typesetting
Dena Corby
Advertising Representative
Robin Razzell
Distribution Manager
Mike Johal
diScOrdeR
THAT MAGAZINE FROM CITR FM102 CABLE100
JANUARY 1986 •VOL 3 NO. 12
IN THIS ISSUE
9 CITR/D/scorder Listener/
Reader Survey
All right, go ahead, get it off your chest.
We know you want to.
10 Shindig—The Final Story
Jay (Scott), Janis (McKenzie) and Julia
(Steele) profile the finalists in the greatest
local showcase on God's green earth.
12 1985—The Year in Local
Music
Jason Grant sifts the sands of 1985 to find
the treasures of Vancouver music over the
last year, and finds a few cracked gems in
the process.
Business Manager
Mike Dennis
IN EVERY ISSUE
DISCORDER, c/o CITR Radio, 6138 SUB Blvd.,
Vancouver, B.C, V6T 2A5. Phone (604) 228-3017.
DISCORDER Magazine is published monthly by the
Student Radio Society of the University of British Columbia (CITR-UBC Radio).
CITR fml01.9 cablelOO.l broadcasts a 49-watt signal in
stereo throughout Vancouver from Gage Towers on the
UBC campus. CITR is also available via FM cable in
Vancouver, West Vancouver, North Vancouver, Burnaby,
Richmond, Coquitlam, Port Coquitlam, Port Moody,
Maple Ridge and Mission.
DISCORDER circulates 15,000 free copies. For advertising and circulation inquiries call 228-3017 and ask for
station manager Nancy Smith.
Twelve-month subscriptions available: $10 in Canada, $10
U.S. in the U.S.A., $15 overseas. Send cheque or money
order payable to CITR Publications.
Unsolicited manuscripts, photographs, cartoons and
graphics arc welcome but they can be returned only if
accompanied by a self-addressed, stamped envelope.
DISCORDER does not assume responsibility for unsolicited material.
The offices of CITR and DISCORDER are located in
room 233 of the UBC's Student Union Building. For
general business inquiries or to book the CITR Mobile
Sound System call 228-3017 and ask for station manager
Nancv Smith. The Music Request line i< 228-CITR.
4   Airhead
CITR listeners write their parents.
6   Behind the Dial
Idle flattery, plus DJ Top Tens.
16   Program Guide
An essential guide to CITR.
19  Vinyl Verdict
Record reviews; you do remember what records are, don't
you?
22   Roving Ear
Beverly Demchuk   visits Ottawa and leaves without a
Senate seat. January 1986
Play Misty For Me
Dear Airhead:
Mr. Robert Alexander
I couldn't believe that wiretapping
and infrared rays
Shame on you, me him and D.J.
I don't know what is love
You said you beat me die
Now I say you shoot me
You can say that I'm your target
But you know what?
The target is this world.
Don't you think so
I know you know it. .
I'm a listener
But you, You can do something
about it.
Through the Air
By the way. If you want to continue
to play
This game. You do it. I don't
Being two person. Living like this
is not easy.
You are the one can make me. me.
Love you dad.
Name withheld by request
Life Is Hell
Dear Airhead,
I hope you show this letter for I
know many people which would
back me up...
This concerns the groups Love
and Rockets and especially De-
peche Mode. I listened to L and R
since Bahaus and Depeche since
"Speak and Spell." I'm what my
friend calls a pioneer fan. Then I
started hearing harsh nerds listening to Depeche and thought of how
this occurred for they (Depeche)
weren't famous. Then one day
while glimpsing through channels
on TV I pondered onto a station
playing "People Are People." From
that moment on Depche Mode became popular and the once Duran
Duran teeny boppers are now onto Depeche Mode!!!
The reason I'm pissed is
because "where were these teeny-
twits when Depech Mode wasn't
famous???!! Now these boppers
are   rampaging  through   record
RH6A£
c/o CITR Radio
6138 S.U.B. Blvd.
Vancouver, B.C.
V6T2A5
stores gawking and screaming
about Depeche... These boppers
are doing so as if Depeche is
Duran Duran, isn't it bad enough
they did it to Duran Duran??
I once had pride in saying I liked Depeche when someone asked
of my favourite group. But now
guys think I'm a sissy-boy.
I then thought how safe the old
stuff are and "Shake the Disease"
EP are until they just released
"Catching up with..." came out.
This record tells (gives) examples
of all Depeche records, and it's
selling great with the boppers!!
Isn't anything safe from these
Durannys. They're also doing it to
Love and Rockets and going onto
Skinny Puppy. Last S.R concert
was more boppers than their July
gig, wait till the late December
gig...Let's stop it, aya?
****SO I HOPE ALL F***EN BOPPERS    CHOKE    ON    THEIR
MUCUS!!!**** (PRINT) (SORRY)
What do you think of my problem? Am I just parinoid/or nuts?
My swearing and coarse language was held back!
By the way I get your station
perfect and don't think you should
boost power (sorry to true CITR
listeners who can't get it) cause the
boppers will probably listen and
attack D.O.A., D.K.s or some other
groups/SOME PREPPIES (GUYS)
ARE SAME WAY!!! They also did
it to SHRIEKBACK/OMD!!!
***ALL VIDEO HITS FAULT***
K**** Tong
Address Witheld
Sackcloth and
Ashes Corner
LORD KNOWS we're not perfect. We're trying, but it's so
hard. We neglected to identify
the photographers in last
month's issue. We're very, very
sorry. They were, for your information, Bill Jans (Shriekback),
Jim Main and Dave Watson
(Dry Bars). We're amazed these
people still speak to us.
^fifpfp^^^ ON THE BOULEVARD
@nm
hair and suntannmg co.
SUNTANNING
10 Sessions — $39
HAIR STYLING
15% off any hair service with
presentation of ad. Expires Jan. 31
5784 University Blvd.        Ph. 224-1922
(in UBC Village) 224-9116
! ^i ii i r k t«»
?    M  I   * * THEATRE * +  ■»     M/Iff f j
Month
16th Avenue & Arbutus Street
Vancouver V6J 3Z3     738-6311
Starts Thursday Dec. 26
The door was always open...until she asked for the keys.
A Romantic Comedy starring Brooke Adams & Ben Masters
Starts Friday January 31
A film b\ Jean-Luc Godard
HAIL
MARY
Showtimes both films 7:30 & 9:30 CITR fm 102 cabe 100
January
3/4 BRUNO GERUSSrS MEDALLION     *2
10/11  THE HURT with A CAST OF THOUSANDS
17IIS LINE DRIVER
24/25 THE ZEALOTS with LOS DURANGOS
31/1 INDUSTRIAL WASTE BANNED
with THE GROOVAHOLICS	
I LIVE MUSIC IN THE LOUNGE I
I   FRIDAYS FROM 10:30-SATURDAYS FROM 11:30 RM.    I
ARTS CLUB THEATRE   1181 SEYMOUR  683-0151
^
a domestic farce for the contemporary couple
\AlALyC
HuMAn SfePs
triumphant
return tour of
HUMAN SEX
Feb. 6,7,8 •8:30 PM
VANCOUVER EAST CULTURAL CENTRE
1895 Venables at Victoria Dr.
VECC Reservations • 254-9578
Tix at VTC/CBO ♦ 280-4444 and FRC Outlets
Discover something new...
Playing or Listening - Buying or Selling - you should
be using Music Trader.
Here's why...
• FREE, music and home entertainment listings.
• EDITORIALS and articles designed to equip
consumers with product knowledge and assist them in
their selection.
• DISTRIBUTION covering the entire southern
mainland featuring high profile, high volume stores and
newstands.
• STRATEGIC retail price of 95* ensures advertisers
that only serious music/home entertainment consumers
currently in the market to purchase a service or item read
Music Trader.
• MUSIC TRADER deals with a specific market and
is designed to assist you, the music/home entertainment
consumer in buying or selling exactly what you want at
a price that suits you.
2040 West 12th Avenue
iSBWSBgJSBB
-~"•
Free ad line.
731-3111 DISCORDER
January 1986
BEHIND   THE   DIAL
You're not so bad
yourself—Mutual
Admiration Dept.
WE HERE AT DISCORDER are not above patting ourselves on the back. But it is always nice
when someone else is sensible and considerate
enough to do it for us (less chance of dislocating
our elbows that way). Seattle's The Rocket (fine
paper, fine paper) showed just such sense and
consideration when it included this humble little
rag on its list of the top 20 publications of 1985.
Discorder is joined on the list, which appears
in the January issue of The Rocket, by such
august publications as The Village Voice, Option
Magazine, and (our choice for #1) The Weekly
World News.
Makes you think Americans aren't so weird
after all.
Discorder—the survey
CITR SPOKESMAN CLIFF CLAYTON announced today that the CITR/Discorder Listener/Reader Survey will be handled by the station itself,
a decision that has shaken the confidence of the
North American polling community.
"I don't believe they didn't ask me," said Allen
Gregg, whiz-kid pollster, when asked about the
Listener/Reader Survey. "This is just the kind of
street credibility I've been looking for after all that
PC and corporate stuff. I would have done it for
free. But no, those little bastards had to go off
and do it themselves. I just don't..." The sentence
is cut short as the head of Decima Research
hurls himself into a small ball and begins weeping quietly.
"It wasn't really a question of money," said an
unidentified CITR insider. "Mr. Gregg actually
sent out feelers when he heard we were doing
a survey, offering first to do it for free, then offering to pay us if we'd let him do it. We just didn't
think the Decima approach was right for the
Listener/Reader survey—the hour-long grillings,
follow-up phone samplings, psychological intimidation. We just didn't think that anyone who
listened to CITR or read Discorder would stand
for that nonsense. Besides, we're still a little ticked off at Mr. Gregg for sending in a demo tape
and then having all his researchers phone in and
request the thing. He needed to be taught a
lesson."
The CITR/Discorder Survey attracted the attention of a number of other polling organizations.
An unidentified Gallup vice-president was quoted
as saying: "This is just the kind of glamorous poll
that could put us back in the public eye." Liberal
pollster Angus Reid declined comment on his
rejection as official CITR pollster, but a call to his
office revealed that Mr. Reid had gone off on what
a secretary described as a "binge."
A CITR spokesman said the station was perfectly happy doing the survey in-house and was
looking forward to an unprecedented response
from CITR listeners and Discorder readers. "We
figure we know our listeners well enough to approach this whole survey business in an adult
fashion. Which is not to say we wouldn't mind
knowing them a little better. That's why we're doing this survey. As for these so-called professionals clamoring for our business—we're flattered, but I think their subsequent behaviour
confirms the wisdom of our initial decision.
,®iAPHA^T
^ftATe3jHHH8feC^P*^iAW
&Hfcl£TMA£ TVAUMA
if rou pipu't z-z-cewt- thi
TAV&7,
TAJTB CTR fm 102 cabe 100
Top 10s of '85
WE ASKED SOME OF OUR ANNOUNCERS
to inflict their totally arbitrary opinions of the
year's ten best records on you. These are the
results. What do these people know anyways?
Propaganda! Top
Ten
Artists United Aga
nst
Aparthied
Sun City
Test Dept.
Shoulder to Shoulder
The Last Poets
Oh My People
Skinny Puppy
Bites
Mark Stewart
As The Veneer of
Democracy Starts To
Fade
Compiled by Mike Johal
Shriekback
Oil and Gold
Love And Rockets
7th Dream of Teenage
Heaven
AUAA
Sun City
Grapes of Wrath
September Bowl of
Green
R.E.M.
Fables of the
Reconstruction
Compiled by Stacey Fruin
Party With Me Punker Top 10
Olympic Sideburns      LP
Hype
Life is Hard...Then You
Die
Scratch Acid
12" EP
Asexuals
Be What You Want
Descendandts
1 Don't Want to Grow
Up
Replacements
When the Shit Hits the
Fan (live cassette)
Various Artists
RE.A.C.E.
Meatmen
War of the Superbikes
Various Artists
Flipside Vinyl Fanzine
Vol. 2
? and the Mysterians   Dallas Reunion
(cassette)
Compiled by Mike Dennis
Power Chord Top Ten Metal Releases of 1985
S.O.D.
Speak English or Die
Megadeath
Killing is My Business
Fate's Warning
The Spectre Within
Anthrax
Spreading the Disease
Exodus
Bonded By Blood
Agent Steel Skept
ics   Apocolypse
Razor
Evil Invaders
Helloween
Walls of Jericho
Iron Angel
Hellish Crossfire
Abbatoir
Vicious Attack
Compiled by Ron Singer
Jazz Top Ten
Jack DeJonette
Album Album
Abdullah Ibrahim
Ekaya
Benny Carter
A Gentleman and His
Music
Miles Daves &
John Coltrane
Live in Stockholm 1960
Lester Bowie
Brass Fantasy
Hank Mobley
Another Workout
John Coltrane
Blue Train
Miles Davis Quintet      Cookin'
Wynton Marsalis
Black Codes (from the
Underground)
Thelonious Monk
Blues Five Spot
Compiled by Gavin Walker
cont. p. 8
WfCC
pr/T=f*r/
c
7th AVENUE & COMMERCIAL DRIVE 253-5455
highlights from our current program
TALKING HEADS
■^MAKING
_.. SENSE
11:30 p.m. FRIDAY, January 3
Directed by Robert Faenza
"Like Performance or The Man Who Fell to
Earth, Corrupt presents the dramatic debut
of an English rock star. . John Lydon (a.k.a.
Johnny Rotten) is as compelling a figure in
his way as John Lennon, Mick Jagger or
David Bowie."
—J. Hoberman, Village Voice
"A highly original psychological whodunit
that is far above the usual chiller-thriller
mayhem."
—Leo Seligsohn, Newsday
t&JfflS*
msig&
a**'" putottc
• ONE WEEK •
FRI. JAN. 3-THURS. JAN 9
Showtime 9:30 p.m.
HARRISON FORD DOUBLE BILL
WITNESS BLADE RUNNER
7:15    WED.JAN.15& THURS. JAN.16   9:25
$5.00 ANNUAL MEMBERSHIP
Available NOW. Save $1.50 on every regular adult
admission through to December 31, 1986.
Considerable savings! DISCORDER
January 1986
NOT YOUR AVERAGE
COUPON BOOK
The Blackbook — not your average coupon book, gives you over
100 ways to enjoy the best of Vancouver's alternative businesses
while saving as much as $1000! There's Montgomery Cafe, Binky's,
Orestes', Collectors R.P.M., Videomatica, Topsy, The Railway Club,
Urban Innovations, Deluxe Junk, Zero F, Crimpers, Arts Club Theatre,
Van East Cinema, The Hollywood, Pow Wow, The Block...
the list goes on.
Free Passes — in addition to "2 for 1" coupons and
"Percentage Off" coupons, The Blackbook has Free Passes.
Each Blackbook has $55 worth of Free Passes to places
like the Savoy, The Ridge Theatre, Luv-A-Fair,
and the Town Pump.
NOW Available at: Odyssey, Zulu, AMS TKTS (UBC)
Langara Bookstore, VTC/CBO (Pacific Centre and 501 W Georgia),
Eaton's, Woodward's Box Offices (downtown)
Manhattan Books, Cabbages & Kinx, Revolutions,
and other locations.
Just $22.
THINK BLACKBOOK
AND SAVE!
The Blackbook is presented by CITR.
ZEN
CONTINENTAL
BREAKFAST SPECIAL $2.65
—caffe latte, croissant
or toast, juice
Mon.-Thurs
Friday
Saturday
Sunday
Open
8 am-10:30 pm
8 am-Midnight
11 am-Midnight
noon-7 pm
Top Tens ol
'85
Playloud Top Ten
Current 93
Nature Unveiled
Dog's Blood Rising
Various
The Fight Is On
Coil
Scatology
Michael Brook
Hybrid
Hideous in Strength
Line of Souls
Nurse With Wound
Hi-Thigh Companion
Brained by Falling
Masonry
Mark Isham
Film Music
C Cat Trance
Khamu
Compiled by Larry Thiessen
Mel Brewer's Top Ten
Slow
Against The Glass
Skinny Puppy
Bites
Enigmas
Strangely Wild
Various
Shindig—The Album
Poisoned
Poisoned EP
Trevor Jones
A Guy Who Sings
Grapes of Wrath
September Bowl of
Green
NoMeansNo
You Kill Me
Various
Undergrowth '85
(cassette)
No Fun
1984 (cassette)
FAST FORWARD FAVES FOR '85...
In no particular order
Bryan Ferry
Boys and Girls LP
Nocturne 12" b-side
Current 93
Dog's Blood Rising LP
Nature Unveiled LP
Nurse With Wound
Short Dip in the Glory
Hole
Sylvie and Babs...LP
Steven Brown/
A Propos D'un
Benjamin Lew
Paysage LP
Nico
Camera Obscura LP
Paul Dolden
Veils
Various
The Fight is On LP
Peter Principle
Sedimental Journey LP
Various
Devastate to Liberate
Diana Rogerson et al
The Inevitable Chrystal
Belle Scrodd Record
Various
Security cassette
Chris and Cosey
Techno-Primitive LP
Shriekback
Oil and Gold
"Memories, light the corners of my mind... ." B.
Streisand
Compiled by Mark Mushet
Jason Grant—Music Director
820 HOWE STREET   683-5122
Tom Waits
Rain Dogs
Enigmas
Strangely Wild
Slow
Against the Glass
Shriekback
Oil and Gold
Husker Du
New Day Rising
Flip Your Wig
Nick Cave
The Firstborn is Dead
Einsturzende
Neubauten
Halber Mensch
Billy Bragg
Life's a Riot/
Between the Wars
Jesus and Mary
Chain
Psychocandy CITR fm 102 cable 100
Age.
Sex    MDFD
Are you a student of: UBC □
Other Post-Secondary Institution □
High School □
Life □
None of the above □
Have you listened to CITR? Yes D No D
Do you normally listen on: 102 FM □    Cable 100 FM □
How often do you listen? Once a month □
Once a week □    Few days a week D
Daily □    Never □
Are you having problems picking up CITR? Yes D No D
What are your feelings towards the following CITR
features: (Rate on a scale of 1 - 5, 5 being "enjoy
immensely" and 1 being "avoid like the plague.")
Regular Music Programming	
News	
Live Sports Broadcasts	
Public Affairs programming	
High Profiles	
PSAs	
Music of Our Time .
Soul Galore	
Fast Forward	
Jazz Show	
UBC Weekly	
Top of the Bops	
Power Chord	
Neofile	
Generic Reviews	
No commercials	
Rockers (Reggae Show).
African Show	
Folk Show	
Just Like Women	
Party With Me Punker _
Mel Brewer Presents	
Big Show	
Propaganda!	
Do you enjoy listening to CITR's regular programming
more or less than you did: 1 year ago: More □ Less □
2 years ago: More □ Less □
What other radio stations do you listen to?
CFRO (Co-op Radio) □    CBC AM □    CBC FM □
Top 40 FM Radio (please specify)	
Top 40 AM Radio (please specify)	
Do you tape music or other items from CITR? (We won't
tell, promise.)   Yes D    No D
DISCORDER
Where do you pick up Discorder?
Point Grey □ Downtown □ West End □ Gastown □
Kitsilano □ East End □ South Van □ North Shore □
Richmond □ Surrey □ New Westminster □
How many people read each copy?
Just me D 2 D 3 D 4 D
What aspects of Discorder would you like to see more
or less of?
Airhead: More □ Less □
Behind the Dial: More □ Less □
Vinyl Verdict: More □ Less □
Demo Derby: More D Less □
Armchair Eye: More □ Less □
Roving Ear: More □ Less □
•  Music Features: More □ Less □
Local Music Features: More □ Less □
Non-music Features: More □ Less □
Cartoons: More □ Less Q
Do you refer to the Program Guide in Discorder before
tuning in to CITR?
Yes D No D
Would you be willing to pay for Discorder? (Just asking.)
Yes O No D
And under what circumstances?
more pages □ to benefit CITR □ less advertising □
Which of the following would you like to see in
Discorder?
DJ Profiles □ Local Gossip Column □
Book Reviews D
Political and/or Social Commentary □
Stories dealing with student issues □
Broader Arts coverage (dance, theatre, etc.) □
Comments about CITR or Discorder:
YES KIDS, YOU CAN HELP CITR and Discorder and improve your record collection—simply scrawl your name
and telephone number on your survey when you drop it off and you become eligible to win a complete collection of Zulu, Nettwerk, or Undergrowth releases, plus a copy of the 1986 BLACKBOOK, featuring savings
amounting to more money than you have in your bank account!
Remember, one entry per person. DISCORDER
January 1986
tainment. The band all agreed that Mark was
their favorite drummer.
Further into the interview I asked what they
were going to do if they won. They told me that
they were going to sell the recording time back
to the studio and buy food for themselves and
the needy. When I asked about a future demo
tape the Wingnuts said it depended on whether
they were starving. Apparently, as their song
"Free Lunch" would imply, they really do eat out
of garbage cans; at least that's what Mr. Scum
told me. I guess that's why the go busking outside of liquor stores. Mr. Nut said they hadn't for
about six months, mostly because they hadn't
had time, and plus it's cold outside which can
make busking rather uncomfortable.
I thought I'd save the end of this article to rave.
I think the Wingnuts are great. They all play their
instruments well and creatively and man-oh-man,
can Mr. Wing sing. This band really cooks, bakes,
slices and dices; they write good songs, too.
The Wingnuts, as Mr. Wing puts it, were "born
bouncing."
—Julia Steele
THE WINGNUTS ARE MR. SCUM ALIAS
Surfer Joe Wave; he sings on a few songs
like "Free Lunch" and "Surfin' on the
Nuclear Wave." He also does most of the talking. Mr. Wing is the main singer, and with good
reason; the man has a great voice. He also plays
the guitar and some bass. Mr. Nut is Mr. Wing's
fellow harmonizer and he also plays the bass,
the humazoo and the guitar when Mr. Wing is
playing bass. Mark Killer Buckets is the drummer and Mr. Asbestos plays guitar.
It all began one day in Walla Walla, Washington when the members of the Wingnuts were
"tripping" through the woods separately. They
overhead each other's conversation and started
talking. It was there, in Walla Walla, wl
Wingnuts discovered their identity as Wtfrgnuts.
Mr. Scum told me that it was spontaneous human
combusion; he also told me a lot q¥ other things
as well. Like I said, he did most ot
He told me that the Wingnuts
contradictions," that they were Slurps and practitioners of spontaneous human cottibustion:' He
said that they were into peace, love and crunchy
granola; that the Wingnuts were into 'Wingmit-
tery." They are all naturalists and animalists that
would like to live in Nanouse Bay in a cabin after
all the nuclear arms are removed from the area
so that it would be quiet enough to meditate. He
gave me a list of trendy authors that he, I mean
the Wingnuts, liked: Allen Ginsberg, William S.
Burroughs, and Reid Flemming, The World's
Toughest Milkman.
The band are all currently unemployed and Mr.
Scum confided in me that this was because the
Wingnuts don't believe in work, as it supports the
monetary system. Work is the upkeeper of Conservatism and Liberalism, equity rather than
equality. Then he said that the band liked to shop
at used clothing stores. Mr. Wing agreed and
added that they all liked polyester clothes in loud
clashing psychedelic colours. "We have a psychedelic attitude although our music isn't." Then
Mr. Scum said, "Yeah, we also like macrobiotic
food." A few other band members said, "Yeah,
macrobiotic."
At this point the drummer, Mark Killer Buckets,
who had taken his wild shirt off after the performance, interjected that the Wingnuts liked to
have a good time and he said that it was enter-
minate length.
"I write songs of all genres," says Mitchell,
"from jazz to sappy Barry Manilow-type things.
(A brave confession!) But we try to play only the
songs that will appeal to the audience before us.
"Just watching bands play can get really boring—I know I get bored. The problem is that the
live show is seldom as interesting as just listening to the music. I would like to produce a total
audio-visual experience on stage, an evening of
live video, a jump inside your TV set. Unfortunately, most clubs in Vancouver do not have the
space nor the facilities, so any complex presentation will not work."
Mitchell has an interesting history. After leaving
the family home in Horsehoe Bay at age 13 with
a grade seven education he lived for three years
in "a fairy-tale cabin, without heat, running water,
or electricity," near Squamish. Over the next few
years he played bluegrass in Vancouver, Montreal
Nashville, California and Oregon. Returning to
Vancouver, he broke his back while working for
the railway. "For a few years I couldn't work—I
couldn't even walk. I just sat around doing drugs,
until my girlfriend suggested that I go back to
school."
After studying music at Capilano College for
three years, Peter once again immersed himself
in the local music, playing "mostly acoustic
stuff—jazz, mandolin—but also in several Bottom
-40 bands, until I formed Gizmo, my first real project." Gizmo was short-lived, but managed to produce a video for the single "Nightmare."
A stint with C&W band Line Driver and a yearlong search for the right musicians ended in the
discovery of John Rule (drums, vocals) and Martin Walton (who also plays bass with '84 Shindig winner, Red Herring). With the addition of
mime Lawrence Smythe for visual stimulation,
the Zealots were born.
"Music is such a tool—it goes beyond listen-
to radio—it twists the subconscious," says
xi can literally make people shit their
by Using a 20 Hz tone. Fortunately, that's
so is differentiated by
d jBndaflljtflu can control this, you
3 q§U .like to make incred-
£*  ^Bpfe^OTiaMs MIMv and put it into particle
- manipulat That way you could
change anyth /thing. You could turn
missies into i ead or a rutabaga."
—Jay Scott
"w;
' E'RE THE ZEALOTS. THOUSANDS
of years ago, there was a group of
people at a place called Masada
who committed mass suicide rather than be captured by the invading Roman army. They were
the original Zealots, or religious fanatics, and we
admire them. So don't fuck with us, or we'll kill
ourselves."
So begins the performance of the Zealots, a
new Vancouver band which centres around the
talents of guitarist Peter Mitchell and his neat effects. That the Zealots are a vehicle for Mitchell
is clearly evident upon hearing them perform;
Peter writes all their material, and every song in
the entertaining, eclectic set contains at least one
admittedly well-mastered guitar solo of indeter-
THE LITTLE RATSKULLS ARE: JASON
Gibbs (19), vocals; Jim Newman (23),
guitar and vocals; Ralph Allan (23), bass
and artwork, Kerr (prounced "care") Belliveau
(19), drums.
Although the Little Ratskulls may have seemed
like a brand new band to most Vancouverites
when they settled here last July, these guys are
no debutantes. Before the Ratskulls, who have
been together for a little over a year now, Jim (the
main songwriter of the band) and Kerr played in
a band called Society's Grudge for three years. CITR fm 102 cable 100
Kerr, the youngest Ratskull, has been in bands
since he was twelve, as has Jason, who claims
that, compared to the Little Ratskulls, the others
were just a waste of time. Ralph, the cartoonist
and, according to Jim, "beer-drinking slob" of
the group, used to be in Kill City, the Rippers,
and Anti-Christ Incorporated back in Winnipeg.
As far as I can tell, the Little Ratskulls have only
played five times in the five months they've been
in Vancouver.
The Little Ratskulls just want more opportunities to play rock and roll (and, says Jim, to buy
a van), and they don't think they have much
appeal for 15-year-olds with mohawks. Besides
trying to avoid the limitations imposed on any
bands classified as hardcore, the Ratskulls don't
play hardcore, as anyone who's heard them
knows. It's more difficult to say what it is they do
play. Some of their favourite songs are the Buzzcocks' "You Say You Don't Love Me," Elvis Presley's "Burning Love," "Catholic School Girls
Rule" by the Red Hot Chili Peppers, and "Nights
in White Satin" by the Dickies (not the Moody
Blues' symphonic original version!). They also
claim the Damned and Undertones as influences, and NoMeans No, Death Sentence, and
Slow are the Ratskulls' local faves.
It was Slow that they reminded me of the first
time I saw them, with the main difference being
the two bands' vocals—Slow relies on the snarling solo voice of Tom Anselmi and the Ratskulls'
vocal power comes from rough harmonies which,
although melodic, are in no danger of sounding
wimpy.
Besides being classified as hardcore, another
thing the Little Ratskulls don't want is to be
political, mainly because they feel that politics
in music tend to get repetitious. At the same time,
"Poach Me" (the one song on their demo to be
playlisted at CITR) is "anti-heroin," inspired by
Ralph's reading William S. Burroughs' Junkie.
"Poach Me," with three other songs ("Doesn't
Make it Easy," "Not Really Pleasure," and "Dependence") showed up at CITR on the Little Ratskulls' cassette, Pistol Whipping a Hippy, just
about the time that the band won their round of
the Shindig semi-finals. The tape, recorded in
very little time and with almost no advance notice
(when Slow failed to show up for some studio
time they had booked, the Ratskulls took their
place) isn't exactly what the band had wanted.
Compared to the band's exuberant performance
on stage, the cassette sounds a little subdued,
but not as subdued as might be expected, considering that Jason had to do some of the vocals
at 6 a.m. Yet the demo does give a good idea
of the Ratskulls' scary/catchy pop sound, and is
well worth borrowing from someone even just for
Ralph's off-the-wall packaging. I can hardly wait
to see what a record label (or the Ratskulls themselves) with a little money can do for a band with
this kind of potential.
—Janis Mackenzie
JERRY RUBIN v. ABBIE HOFF
X,  You Yuppie! You Yippie!    M
J AT THE ORPHEUM  f
" FEB. 8th - 8:00 p.m. *
3 PART EVENING INCLUDES:
Networking in lobby 7:00 pm
The Great Debate 8:00 pm
• ••••••••••••••••••••••••••***•* **
***************************
The Frog Salutes the Winners of Shindig '85
WINGNUTS
ZEALOTS *
LITTLE RATSKULLS
Winners of 24 Hours of Recording Time at Bullfrog Studios
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2190 West 12th Avenue Vancouver 734-2922 DISCORDER
1985
The Year in
Local Music
Jason Grant Peers into the Past
LIVING IN VANCOUVER MEANS HAVING
a considerable supply of hope. Hope?
Yeah, like hoping it won't rain again,
hoping the floor of= your car hasn't rusted
through, hoping your cheque (welfare or otherwise) lets you sleep in a warm bed and eat, and
maybe, just maybe, see a couple of shows this
month.
For those close to the local music scene, hope
comes in the form of aspiring artists. A glance
at last year's year-end piece in Discorder points
out that "...the trio of big hopes, Art Bergmann
and Poisoned, 54/40 and Bolero Lava remain(ed)
just that—hopes."
Well, we're through another year and where
do our three heroes stand now, in the big picture of international music?
They made strides locally and toured various
parts of Canada, but the Poisoned EP didn't carry
quite the visceral impact of Bergmann's cassette
release in the summer of '84. 54/40 continued
to develop strong new material, moving farther
away from their earlier work with each new song,
and a deal with a label was all that kept them
from releasing a full-lengh LP last year. Bolero
Lava...well, I didn't peg them as high as Mike
Johal did last year, if only because of the brevity
of their existence, but with good management,
consistent songwriting, and a broadening audience I'd say that 1986 could be the year for them.
January 1986
While these three were toiling away in that
netherworld between critical acclaim and popular
success, some other, newer faces were leapfrogging into the spotlight.
THE NETTWERK TEAM, coached by Terry
McBride, took careful aim at the North
American market and gave it a double-barrelled
blast, with simultaneous releases from Grapes
of Wrath and Skinny Puppy. Slick packaging,
attention to detail and good business sense have
gained Nettwerk recognition in Europe, England
and major North American centres, not to mention a distribution deal with Capitol/EMI. Of
course, good packaging is pretty much useless
if you don't have a good product, but in Skinny
Puppy, Grapes of Wrath and Moev, Nettwerk
seems to have product to spare.
Skinny Puppy, while not everyone's cup of tea,
create a consistent, powerful image with their live
pyrotechnics, and the LP Bites, han appeal for
fans of everyone from Depeche Mode to Black
Sabbath (yeah, Black Sabbath. You'll have to
trust me on that one). The Grapes lean to a more
jangly pop sound, althought their LP, September
Bowl of Green, shows flashes of bigger, more
complex structures than your average guitar-pop
band. Moev is an unknown quantity as yet, although the Alibis 12" points the way to a crisp,
calculated, brittle sound without much heart.
They have an LP slated to be released very soon,
followed by a major tour.
Whither now Nettwerk? The next step will be
a perilous one. Nonetheless, this label gets my
vote for success story of the year.
1985 WAS NOT A BANNER YEAR for Mo Da
Mu. Both 54/40 and Bolero Lava opted not
to release their records through MDM. The Work
Party, after a great 12" ("The Work Song'V'Come
On Over") broke up as they were about to release
a second 12". The Animal Slaves disappeared
too, but there were only making like Mandrake,
reappearing after three months in the far East
(Montreal). They released a polished piece of
aural sculpture entitled Dog Eat Dog prior to the
move, an album that speaks volumes for their
musicianship. Rachel Melas continues to amaze
with her funky, intricate basslines and if some
find Elizabeth Fischer's singing acutely annoying, I admire her increased emphasis on those
quirky vocal phrasings that make her sound so
unique and individual. Expect bigger things of
the Animal Slaves in '86.
Everybody's favorite local downer, Emily, found
herself some new toys and tinkered her way to
a 60-minute cassetted, Neat and Tidy and in Your
Mind. While I didn't enjoy it as much as the Steel
Bar tape of 1984, it still had enough twists and
turns to satisfy your average noise fiend.
The last band affiliated with MDM is Rhythm
Mission. After placing second in last year's Shindig finals, the Missionaries went into hibernation
for a long time, emerging infrequently during
1985 After recording their LP they were forced
to wait four month's for their engineer to finish
with the new Loverboy LP before final mix and
release. Meanwhile, keyboardist Lee Kelsey took
up permanent residence in TO., leaving RM without an ivory tickler. Shazam! From nowhere appears Niko, ex-Beverly Sisters, to board key and
complete the lineup. Watch for an LP, Wild Mood
Swings, in the new year.
THE NEWEST KID on Vancouver's corporate
block in Undergrowth Records. Originally
conceived by promoter Laurie Mercer,
Undergrowth has prospered under the direction
of Norm Utas. Among the releases from Undergrowth are a 5-song 7" from AKOB, a hardcore CTR fm 102 cabe 100
blues outfit with a distinctly 70's punk style, a
7" from reptilian plectorist Snakefinger, and the
long-awaited second LP from NoMeansNo. You
Kill Me does a lot of things, but it fails to capture
the awesome intensity this band generates live.
Only the cover of "Manic Depression" fulfills the
promise of those sweaty evenings spent thrashing to the trio from Victoria.
Undergrowth rounded out the year with a
release from the cream of Vancouver's hardcore
crop. Death Sentence churn and burn for eights
songs on Not A Pretty Sight, and although clich-
ed, the album gets by on sheer energy. Now a
foursome, Death Sentence seem to have gotten
the most out of the studio time they won at Shindig and further touring down South should establish them alongside SNFU as one of Canada's
top new hardcore bands.
ACROSS TOWN, ZULU RECORDS were by
no means idle during 1985. They cranked
out three EPs, one mini-LP, and a 7" single
without putting a single grey hair on owner Grant
McDunagh's head. The Enigmas' Strangely Wild
EP, Go Four 3's debut EP and the Slow single
("I Broke the Circle'V'Black is Black") made up
the first batch, a spicy assortment of rock sounds
that were followed later in the year by an EP from
Brilliant Orange and Slow's mini-LP Against The
Glass. Ironically, Zulu remains further from the
mainstream than Nettwerk, even though all of the
bands play basic rock 'n' roll. Perhaps because
basic rock 'n' roll barely exists in the mainstream
these days. I don't know.
The Enigmas put on some mind-frying shows
around the release of their EP and went on to
move feet, sweat brows and leap tall buildings
across the Great White North. When they came
back they were even hotter. In fact, they were so
hot, they forced themselves to take a break. To
date, this break continues.
Go Four 3, wide-eyed and bursting with pride,
celebrated the release of their EP by getting
drunk and then trying to play at the Zulu Revue
(one of the top shows in my book). The Gofers
wre pretty awful that night, but recent performances show that vocalist Roxanne Heichert has
developed a great stage presence, and a voice
to match. Must have had something to do with
their jaunt across Canada.
Brilliant Orange have gained a reputation in
town as a good live act, and both "Happy Man"
and "Shotguns, Cacti, and Vengence" reached
the top of CITR's charts as demos. Their EP
breaks no new musical ground, but stands as
one of the better local releases nonetheless.
Finally, the Zulu stable houses a wild-eyed
stallion called Slow. Slow: the band that makes
more Vancouver musicians take up carpentry or
repent and join the seminary. Slow: the epitome
of being 18, with a bad attitude and a brother with
a big record collection. Slow: the band that eats
nightclubs. "I Broke the Circle," in all its funky,
trashy orgasmic glory was only a hint of what was
to be unleashed from this unruly lot. Against the
Glass is a bonecrushing, feverish record. Slow
kicks the blues into overdrive, leaves all emotion
raw and bleeding, but still writes harmonies that
stick in your head like flies on flypaper. Despite
not making big waves until after the summer,
they're still my pick for band of the year.
WITH ALL THE LABEL ACTIVITY and promotion it would be easy to forget about all
the DIY releases that came out in '85. Easy, but
stupid. Independent releases from Poisoned,
Red Herring, Kevin Zed, Trevor Jones, Spirit of
the West, I Braineater, and, of course, D.O.A.
brought the music out of the bars and into your
living rooms.
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Red Herring, last year's Shindig winners, parlayed their prize into a six-song EP, Taste Tests,
released in September on their own Neon Records. Although the album features some nice
guitar work from Stephen Nikleva and some
amusing lyrical concepts from Enrico Renz, it
lacks the hooks that make people want to tell all
their friends about it. Red Herring are still finding their feet in the public eye; '86 should see
some big progress.
Keven Zed's 5-song EP Double Dutch features
well-produced versions of three songs heard as
demos on CITR, plus two others. Zed is an effective songwriter, but the EP lacks any standout
track (although the Talking Headish "Saigon
Orders" comes close). Look for a live debut in
1986.
That suave sophisticated guy who sings, Trevor
Jones, finally made his debut on Big International
Records. A Guy Who Sings represents a great
leap forward form the simplistic noodlings of j
1984's "Libido Love'V'Icky Ya Ya" tape. Blessed |
with versatile vocal chords, Trevor recruited some "J
of Vancouver's better musicians from both the I
jazz and rock communities to craft four exciting, 0
soulful tunes.
Spirit of the West, a three-piece folk outfit who fl-
draw on Celtic influences while retaining a definitely West Coast feel, established a large club
following in 1985. They also released a debut LP
early in the year. It's a high-energy "spirited"
record that manages to cross many musical
boundaries. With the success of bands like the
Pogues and The Men They Couldn't Hang, Spirit
of the West seem destined for a bright future in
'86 and beyond.
Tom of Slow conducts a mid-set
audition.
Also unoverlookable (I know it's not a word, but
it should be) is the LP by the dynamic duo of Jim
Cummins and Andy Graffiti; I Braineater. Artist
Poet Thief is an album based around Jim's now
time-worn version of this world in black and white.
January 1986
Stark primitive melodies (powered by Andy's ki-
ney-pummeling kick-torn, fueled by Jim's roaring guitar line) are laid waste by the latter's
cheerless yelping.
Mustn't forget about the biggest seller of the independent lot: D.O.A. Here's a band that shelled
out big bucks to get Brian "Too Loud" McLeod
to produce, give the pre-release hype a real workout, then put out a record that, in comparison
to past releases, just lay there. After War on 45,
D.O.A. would have had to spill their blood on the
vinyl to achieve anything more powerful. Songs
like "Let's Wreck the Party," "General Strike" and
"Trial By Media" show that they had the right
idea, but ran into problems getting that idea onto
vinyl. Still the same bunch of committed, idealistic, state-smashers, D.O.A. will keep chugging
along until they lost that idealism or their sense
of the absurd. Let's Wreck the Party may represent an era on its way out, or maybe just a lapse
in concentration. I hope it's the latter.
Other noteworthy releases in included The
Spores' Schizofungix, Rick Scott's You Better
Dancing, the Promises' 2-song 12" and the Bob's
Your Uncle cassette.
And of course, the year in review would not be
complete without a look back at Shindig, the
greatest local showcase on God's green earth.
After the success of the competition in '84,
organizers Dave Ball and Jay Scott went into '85
with hopes high. The spring session of Shindig
saw local hardcore bands spring to the fore, as
Death Sentence and NG3 joined fuck-band the
Nerve Tubes (members of whom, we are told,
also played in another band that won another,
aspiring local battle-of-the-bands, small world,
\besiis
to come!
'Atmosphere, food, service &
prices are all excellent/
—The Budget Gourmet
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LUNCH
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huh?) in the finals. In what is now known as the
Great Shindig Wars, the Nerve Tubes came away
with top prize as irate hardcore fans voiced and
threw their displeasure in the direction of the
hapless MCs. And these people wonder why they
never get invited to church socials.
But that wasn't all. Nosiree. Grant McDonagh
of Zulu Records helped put together an LP containing two tracks each from the Shindig finalists
from December and May, with mixes recorded
live by the Commercial Electronics' mobile 24-
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track studio. You all, of course, should own a copy
by now.
The fall Shindig was less spectacular. This is
to be expected, I suppose, given the finite supply
of bands in any given city, and the rather high
standards set in previous Shindigs. Nonetheless,
some good fun was had by all, we all drank too
much, and three bands (profiled in page 8 of this
issue) made it to the finals. Shindig will now take
a well-earned rest, both to allow its organizers
to catch their breath and allow another crop of
bands to blossom in Vancouver's fertile musical
soil.
So that was that. Another year, another bushel
of broken hearts, another ashtray of butted-out
hopes. And another year to look forward in hope.
Always hope.
Publications
VANCOUVER'S LOCAL MUSIC scene
received unprecedented press coverage in 1985, both on the local and national level.
Nationally, D.O.A. were the big drawing card,
pulling ink from the pens of writers from Spin,
Playboy, and a bunch of other big-circulation rags
(including, we hear through the grapevine, Hustler magazine, for shame, for shame). Emily and
54/40 both copped space in Option magazine,
one of the worthy successors to OP magazine
as the bible of American independents. Canadian Musician magazine even published a large
section devoted to Vancouver acts. I suppose we
should be grateful, but...
Locally, the dailies both offered more than adequate coverage of the loci independent scene.
Sure, it would be nice to see more, but how much
can you realistically expect from a rag that asks
its readers if they'd like to see more sex stories?
On the weekly/monthly scene, things were
busy and unpredictable. The Georgia Straight
trudged on, firm in its belief that its readers
wanted its editor to take another junket to L.A.
to talk to movie stars rather than pay any attention to what's going on under his nose. The slack
was picked up by Discorder (hey, we never said
we were humble) and two magazines that made
a valiant attempt to cover local music before sinking beneath a sea of red ink and apathy. Issue
magazine took the gas this year, and while they
lasted they managed to offer an interesting, if
sometimes yes-we-went-to-art-school pretentious,
overview of local art and (much to the consternation of some of their patrons) music. They will
be sorely missed. Profile lasted two issues before
realizing that putting out a free magazine without
advertising is a wonderfully quick road to bankruptcy. There is word of publisher Jamie Nicholson taking another shot at it in the New Year. We
wish him the best of luck.
While keeping track of fanzines is a task I
generally leave to the really rabid, a few at least
deserve mention: Generic Drivel, who managed
to put out a great Christmas cassette and receive
letters accusing them of sexism, all in the same
year. And the Plague, who have the honesty to
grow up in public, and great cartoons to boot,
and who have soldiered on despite (because of?)
being banned in several high schools. The rest
of you, keep it up (or start); rock criticism is, and
shall probably ramain, the home of inspired
amateurs. But be careful; remember what happened to Lester Bangs.
—Jason Grant DISCORDER
January 1986
PROGRAM
WEEKDAY REGULARS
7:30 am   Sign-On
8:00 am    WAKE-UP REPORT
News, sports and weather,
10:00 am BREAKFAST REPORT
News, sports and weather followed
by GENERIC REVIEW and INSIGHT.
THH) pm   LUNCH REPORT
News, sports and weather.
4:30 pm   AFTERNOON SPORTSBREAK
6:00 pm   DINNER MAGAZINE
News, sports and weather followed
by GENERIC REVIEWS, INSIGHT
and a DAIIY FEATURE.
4ti0 am   Sign-Off
WEEKDAY HIGHLIGHTS
MONDAYS
ARTZMONDAY MAGAZINE
7:15-10:00 am
A three-part radio program dedicated to a
creative mix of sounds, music and words:
7:15-8:00 Cancon Music Made in Canada
8:15-9:00   Happenings/ short announcements,
short features.
9:0010:00 RadioCinema/ Words, Music and
Sounds, directed by Essy.
THE JAZZ SHOW
11:00 pm-12:00 am
Vancouver's longest-running prime time Jazz
program, featuring all the classic players, the
occasional interview, and local music news.
Hosted by the ever-suave Gavin Walker.
06 Jan. Abdulla Ibrahim Ekaya—a repeat
feature.
13 Jan.  A portrait of Grant Green. One of
the best (along with Wes Montgomery) jazz guitarists of the 1960's.
From various records.
20 Jan. John Handy. Live at Monteray. Alto-
saxophonist/composer Handy was the
hit of the 1966 Monteray Jazz
Festival. We'll relive this excitement.
27 Jan. Sonny Rollins— Worktime. Recorded in
1955 after his first absence from the
jazz scene. Considered by many to
be one of rollins' best albums.
TUESDAYS
PLAYLOUD
Late night 1:00-4:00 am
Home taping isn't the only thing killing
music. Listen, decay and rest in pain. Aural
surgery and discipline performed by Larry
Thiessen. Things to brace yourself for this
month:
07 Jan.  The Culling-a monthly exploratory
operation performed on CITR's
Spinlist.
14 Jan.  Live Burial-Cult bands in performance: Current 93, TG, Virgin
Prunes, Psychic TV and worse.
21 Jan.  Lac de sang hante de mauvais anges.
Musique en Francais.
28 Jan. To be announced.
WEDNESDAYS
UBC WEEKLY
9:00-9:30
A new show dealing with issues of concern
to students at UBC.
JUST LIKE WOMEN
6:20-7:30 pm
Woman, heal thyself with Ann and Lil's
remedy for the Old Boys' Network: an hour
of news, interviews, and music. A shot in the
arm for all women, and for any man who
likes them.
THE KNIGHT AFTER
Midnight to 4:00 am
Music to clobber Yuppies by-featuring radio
shows traded with alternative stations in
Europe and the U.S. This show will really
mess up your BMW!
THURSDAYS
PARTY WITH ME, PUNKER!
4:00-6:00 pm
A new time slot for this two-hour show
which specializes in music described, for the
lack of a better word, as "punk rock." But it
can mean anything from the alcohol-rock of
the Replacements to the brutal thrash of
D.R.I, and anything in between. With your
hosts Mike Dennis and Andrea Gamier.
02 Jan.  Dead Boys final concert-live" at
CBGBs
09 Jan. TBA
16 Jan.  Italian Hardcore
23 Jan. TBA
30 Jan.  Killing Joke
TOP OF THE BOPS
8:00-9:00 pm
MEL BREWER PRESENTS
11:00 pm-Midnight
We speak with our eyes closed. You should
listen with your mouth open. It's a gabfest
presented by Mel, man. Know what's going
on locally without leaving home, especially
you agoraphobics. Watch out for black ice.
Win things. Get happy.
FRIDAYS
FRIDAY MORNING MAGAZINE
7:30-10:30 am
STIRRINGS: Awaken to the sense-stirring
music and interviews of CITR's Primal DJ, the
White Wolf. Psychodramatic interviews,
poetry reading, insights into the world of
ethnic music and culture, environmental territories are all part of the Wolfs habitat. Your
host and local changling Kirby Scott Hill.
VANCOUVER INSTITUTE LECTURES
7:30-8:30 am
Lectures from the Vancouver Institute's Saturday night lecture series.
POWER CHORD
5:00-6:00 pm
Vancouver's only true metal show, featuring
the underground alternative to mainstream
metal: local demo tapes, imports and other
rarities, plus album give-aways.
FRIDAY NIGHT FETISH
6:20-9:00 pm
Word salad and cooking tips from habitual
guest Beverly and delinquent trends and
revelations from that Annoying Guy...Radio
for people striving for less than adequacy in
their lives.
THE BIG SHOW
9:00 pm-midnight
Why pay money to get into a nightclub on a
Friday night? If Big InternationAl can't get you
dancing, no-one can.
THE VISITING PENGUIN SHOW
Late night 1:00-4:00 am
Interviews with local musicians and artists,
the newest sounds at CITR, your personal requests and even golden oldies. What more
could you want? Hosted by Andreas Kitz-
mann and Sheri Walton.
WEEKEND REGULARS
7:30 *m   Sign-On (Saturdays)
8:00 am   Sign-On (Sundays)
Noon       BRUNCH REPORT
News, sports and weather.
6:00 pm   SAT./SUN. MAGAZINE
News, sports and weather, plus
GENERIC REVIEW, analysis of
current affairs and special features.
4:00 am   Sign-Off
WEEKEND HIGHLIGHTS
SATURDAYS
THE FOLK SHOW
10:30 am-Noon
Host Steve Edge presents a wide range of
folk music, extending from the latest U.K.
Rogue-Folk through to all kinds of traditional
music from Canada, U.S.A., the British Isles
and just about anywhere else. Plus the latest
U.K. soccer results at 11 a.m.
04 Jan.  English singer & frequent visitor to
Vancouver, Roy Bailey with highlights
from his latest ablum ...Freedom
Peacefully and some of his earlier
stuff
11 Jan.   New LPs by Fairport Convention and
The Oyster Band.
18 Jan. The late, brilliant Montreal fiddle-
player Jean Carrignan.
25 Jan. J. Knutson of Spirit of the West
presents some of the music he
discovered in Australia, as well as
some of his own personal faves. CITR fm 102 cab e 100
U
D
NEOFILE
Noon-4:00 pm
Join CITR's music directors as they take you
through the station's new and exciting Spin
List.
WHATEVER HAPPENED TO
GILLIGAN'S ISLAND?
4:00-6:00 pm
The quest for ultimate truth continues...
More metaphysics of the airwaves. This
month:
04 Jan.  Rugby philosophy
11 Jan.  The wisdom of Derek And Clive
18 Jan.  Tom Lehrer's code of ethics
25 Jan. The Histories of Pliny The Elder
Is Sonny Crockett really Gilligan?
PROPAGANDA!
6:30-9:00 pm
An eclectic mix of interviews, reviews, music,
humour, High Profiles, and other features
with Mike Johal.
PYJAMA PARTY
9:00 pm-1:00 am
Your hosts Mike Mines and Robin Razzell
present everything from ambient music for
snoozing to upbeat tunes for popcorn and
pillow fights.
TUNES R' US
Late night 1:00-4:00 am
Music, Music, Music, Handyman Bob, Music,
Music, My Favorite Album, Music, Music,
Experimental To Classical, Teddy Kelowna
presents, and yes more music.
SUNDAYS
MUSIC OF OUR TIME
8:00 am-Noon
A sampling of the vibrant, electric and exhil-
irating sounds often erroneously filed under
the misnomer of "classical" (i.e. pedantic)
music. Paul Smith continues his musical lexicon of the twentieth century, and is joined
by Tylor Cutforth, with his favorite remedies
for Sunday morning complacency.
05 Jan.  Works for the Ondes Martenot
12 Jan.  Kodaly—Duo for Violin and Cello
19 Jan.  Shostakovich: Fifth Symphony
26 Jan.  Neoclassical splendour with Stravinsky's The Rakes Progress
ROCKERS SHOW
Noon-3:00 pm
The best in reggae with host George Family
Man Barrett, Jerry the Special Selector, the
Major Operator, and Collin the Prentice.
SOUL GALORE
3:00-4:30 pm
Focusing on Black-American popular music of
this century, this program takes you from the
birth of the blues through dqo-wop, soul and
funk, from Massachusetts to California and
everywhere in between.
THE AFRICAN SHOW
4:30-6:00 pm
A program featuring African music and
culture with hosts Todd Langmuir, Patrick
Onukwulu and Dido. Tune in for the latest
news from Africa, plus special features at
5:00 pm.
SUNDAY NIGHT LIVE
8:00-9:00 pm
Your Ul cheque didn't make it in time for the
weekend. You've got no cash and you're going to miss the Big Gig. So you've decided to
end it all. Before you try and get yourself run
down by the SkyTrain, tune into Sunday Night
Live and relive those memories of past Big
Gigs. Just turn up your radio to an unbearable volume level, smoke lots of cigarettes,
and you're there. Your host: Paul Clark.
05 Jan. John Martyn Live at Leeds. Recorded
in 75 and released by Island Records
in limited edition, this captures Martyn at the height of his "folkie"
period. Possibly his best record ever.
12 Jan.  Laurie Anderson recorded live in Vancouver, June 1st, 1984, Pt. I
19 Jan.  Laurie Anderson live Pt. II
26 Jan.  R.E.M. at the Paramount Theatre in
Seattle, July '85. Warm summer
memories for cold winter nights.
FAST FORWARD
9:00 pm-1.00 am
Probably Vancouver alternative radio's most
alternative show Mark Mushet searches the
world over for experimental, minimalist,
avant-garde, electronic, and other non-
mainstream sounds.
05 Jan. Yes, me too. A recap of 1985. The
coolest and most deliberately
obscure sounds of the year.
12 Jan.  By popular demand, and to further
the cause of nepotism...The return of
The Security Show! Now available on
Undergrowth Cassettes, the pressure
from certain factions to rebroadcast
this epic achievement has been too
great. Oh god how we suffer...
19 Jan.  Nothing dentured, nothing pained.
26 Jan.  Larry and I take your tapes and ours,
bastardize them in the cruelest ways,
and mix them live on air via the station's collective facilities. In other
words, the third performance by the
"Various Artists" collective. And no,
there's no such label as FASTFUCK.
Tape it yourselves.
THE EARLY MUSIC SHOW
Late night 1:00-3:35 am
'join host Ken Jackson for music from the
Medieval, Renaissance and Baroque periods,
presented at an appropriately early hour.
06 Jan.  TBA
13 Jan.  Baroque Theatre music
20 Jan. Jan Monteverdi's Return of Ulysses
Pt. I
27 Jan. Return to Ulysses Pt. II
LIVE THUNDERBIRD SPORTS BROADCASTS
HOCKEY
Fri. 03 Jan., 7:20 pm
UBC T-Birds vs. Cornell University
Fri. 17 Jan., 7:20 pm
UBC T-Birds vs. Manitoba Bisons
BASKETBALL
Sat. 18 Jan., 8:20 pm
UBC T-Birds vs. Victoria Vikings
Fri. 24 Jan., 8:20 o.m.
UBC T-Birds vs. Lethbridge
Sat. 25 Jan, 8:20 p.m.
UBC T-Birds vs. Calgary Dinosaurs
so k/Mr4? urnti -me cueiRQ
ft/Me HmcvT} A1AI0?
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ukz rte? NOWAVALABLE ON THE
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UG 1304
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TEL. (604) 685-8841
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Vinyl
Rhythm Mission
Wild Mood Swings
MoDaMu
WELL, IT'S ABOUT TIME.
Ever since emerging from the ashes of the
sorely misunderstood A.K.A., Rhythm Mission
have shown the potential to do something BIG,
something that kicks out the boundaries of the
"Vancouver Sound." Armed with a sharp wit,
sharper players, the big beat, and a love of the
mutant groove, RM offered a taste of the East
Coast jazz/funk without that scene's whiteface
nihilism junkie posturing, or high camp makeup.
They could also function as a wonderful dance
band, if you didn't mind a little dischord thrown
into your disco.
All that promise, but no record. Poeple were
outraged when RM entered Shindig—'they've
been around forever'—until it was pointed out
that the band had never appeared on vinyl. That
was remedied with the two Rhythm Mission live
tracks on the Shindig Album (buy yours now) and
now we have an album from the Missionaries.
And is it BIG? Does it fulfill all the promise?
Tell us, please. Well, yes, but...and no, but... Wild
Modd Swings is big—broad in its musical scope,
sharp in its lyrical attack. Rhythm Mission tackle
everything from mutant funk to mutant jump with
a spry rhythmic touch (why do you think they're
called...?) and a fondness for sudden twists into
ear-popping dischord.
Particularly noteworthy is the guitar work of
Scott Harding, which ranges from the singing
slide on "Life's Level" to the crunching hard-rock
parody on "Dinosaur Rock." It's also nice to hear
the inventive keyboard work of the now-departed
Lee Kelsey, so much of which is lost in the shuffle of the band's live show. And the, ahem,
rhythm section is flawless: limber, punchy, hugging the groove (but not too tightly).
Dennis Mill's lyrics have a sharp, ironic bite
without being cold. Mills' early James Chance
obsession has left its mark to be sure, but the
nihilism of that nasty little man from New York
has been supplanted in Mills' approach by a
humanism that is celebratory without losing its
Verdict
head, positive without losing perspective. And
Mills' pulls off at least one amazing feat, managing, in "Dinosaur Rock," to tie in everything from
being kept awake by the fights outside at a Top-40
"giver" bar (as in "give 'er shit"), to the conflicts
between the superpowers, all without missing a
beat.
And the "but..."? Well, Wild Mood Swings is
big, but listening to it, one wishes it could be
BIGGER. Andy Graffiti's percussion and Warren
Ash's drums, which could provide the drive needed to send the band over the top, sound muted—
a touch of crispness is missing. And while Mills'
voice has an insinuating edge to it, one is left
wishing that he could let go and unleash something spine-tingling every once and a while. Or
maybe I've been listening to Koko Taylor and
Jackie Wilson too much lately. (Think of it, Koko
and Jackie singing with RM—sorry Dennis.)
And the promise? Still unfulfilled, but then this
is RM's first album (I still find that hard to believe).
Wild Mood Swings is very good, but RM can be
great, as they have shown in their better live
shows. It's big, and I'd be happy to own it, but
I'm looking forward to something BIGGER.
—CD
Robert Cray
False Accusations
Demon
FAMILIARITY WITH THE DEMON LABEL
breeds the expectation of recordings by blues
artists with a difference. Demon focuses on
blues-based artists, such as Gatemouth Brown
and Johnny Copeland, who reach beyond the
standard 12-bar blues. Although not as unusual
as many of the others on the label, Robert Cray
fits the Demon mold. False Accusations has a
soul/blues/R&B flavour given an individual personality through the soulful voice of Robert Cray.
False Accusations fails to cut any new paths
lyrically as the standard blues topics of lovin' and
cheatin' predominate. Despite this limitation, the
strength of the album is Cray's silken voice which
works well in tandem with his mellifluous guitar.
Rough edges are scarce, but the earthy delivery
of Cray and his band prevents False Accusations
from banal slickness, and instead keeps it soul-
fully bluesy.
—Kevin Smith
Yoko Ono
Starpeace
Polygram
THIS ALBUM ANNOYS THE HELL OUT OF
me; small doses of Starpeace make me
queasy and initiate violent, nefarious thoughts
in this impressionable mind of mine. Yoko has
dished up an album of innocuous pop music
coupled with her message to the peoples of this
world, solar system and universe. The insight of
this former avant garde artist is so deep and profound it's frightening—ya, right.
Production help supplied by the omnipresent
Bill Laswell, some all-too-familiar backing by Sly
and Robbie, and workmanlike assistance from
others such as Tony Williams, Shankar and Eddie Martinez, make much of the music passable
if not inspiring. Unfortunately, Yoko's vocals don't
mesh with the music. Never a true singer but that
I can handle; however, a spike being driven into
the base of my skull by songs such as "Sky
People," "Star Peace," "Children Power" and "I
Love You Earth" is a little much. Her pretentious,
didactic approach offers nothing of real value.
I think I get it, but I just don't want it.
—Kevin Smith
Various Artists
Feed The Folk
Polygram
NOT JUST ANOTHER BUNCH OF ARTISTS
jumping on the LiveAid bandwagon, this LP
represents some of the finest folk music performers of the past 10 years or so donating their
work to a worthy cause (in this case the Save the
Children Fund). It was put together by Robin
Morton, one of Scotland's most prominent record
producers.
There are 13 songs, with the best efforts provided by Billy Bragg singing Leon Rosselsson's
song "The World Turned Upside Down" (about
the Diggers' attempt to take over the land for the
good of the common people in 17th Century
England), the Battlefield Band's fine anthem "I
Am The Common Man" and Canada's own Kate
and Anna McGarrigle with a song specially written for the LP Other fine contributions are from
Fairport Convention, Richard Thompson, Steel-
eye Span, Loudon Wainwright and Paul Brady
giving full rein to his predilection for long, morose
songs on "The Green Fields of Canada."
The album's rounded out by contributions from
The Chieftains, The Roches, Lindisfarne (with a
song about the hunger marchers in England in
the 30s), Martin Carthy, and Billy Connolly with
the cheerfully irreverent sexist diatribe "Hey,
Dolores!".
For folk enthusiasts this is not only a pretty
good LP, but also a great opportunity to donate
some of your hard-earned bucks to a good cause.
It is available domestically and therefore is very
reasonably priced, so please don't tape it for a
friend or we'll donate your pets to The Fine Food
Products of New Brunswick Famine Relief Pie
Company!
—Steve Edge
Diana Rogerson et. al.
The Inevitable Chrystal Belle
Scrodd Record
United Dairies
M
Y, BUT THINGS QUICKLY BECOME IN-
cestuous in England's underground. I sup- DISCORDER
pose the apathy in a trend-a-minute environment
helps to fuse those small pockets of enthusiasm
working on the fringe of aural sensibilities. Nurse
With Wound intersects with Current 93. Current
93 intersects with Coil. The individuals involved
in any of these manifestations then tend to move
about with one another. The whole lot them
seems to intersect with record labels such as
Laylah or United Dairies. And none of this even
considers lineage. But, to quote Diana Rogerson,
"Why speculate, when you can masturbate?"
At its highest points, vitriolic, venomous vocals*
vilify. In "Cradle Your Snatch," Ms. Rogerson bitterly proclaims that "For every cock, there's a
sucker." This sets the mood of the record right
oft the bat and confirms, along with some of the
titles, that these people are very much concerned
with sex. Stapleton's smatterings of perverted
urban noise punctuate the mood at every turn
and things only subside when, on side two, a
lengthy piece called "The Unknown Pts. 1 & 2"
allows you to sink into a dark hold. This is prime
soundtrack material for a film to be shot in the
bottom of a well (this is a recommendation, by
the way
What is particularly reassuring here is that,
though the incest is rampant, no one musical
"personality" is dominant. This is rather surprising considering Stapleton's penchant for recycling a lot of his own material to comprise the bulk
of his NWW releases of late. For lovers of the
sorely missed Lemon Kittens, and the Laylah/
United Dairies school of aural deviance, this
record is a "must." Nothing is really inevitable
though, so I leave the last word to Lady Diana:
"Who could find you sexy? Anti-human pets/your
perfume is filthy to my senses!"
Reach for your guns, mechanical man.
—Mark Mushet
Flesh For Lulu
Big Fun City
Statik (UK)
STRAIGHTFORWARD, GRUNGY ROCK 'N
roll suitable for increasing one's pulse rate.
January 1986
Nothing fancy or well-manicured, just yer basic
three chord aural shot of energy and grit that
belies any deep searching analysis. If you don't
enjoy cuts like "Cat Burglar," "Baby Hurricane"
and "Laundromat Cat," you don't really like rock
'n roll.
Nick Marsh sings like a somewhat less restrained Lloyd Cole crossed with (pardon the ex-
• pression) a more straightforward Wayne/Jayne
Country. My favourite kind of producer, Craig
Leon, manages to give the music clarity while
retaining the vital energy of Flesh For Lulu. The
Flesh aren't a band of astounding wisdom when
it comes to words; but this is visceral music that
provides the antidote to an overdose of Aztec
Camera, James Taylor and Joni Mitchell.
—Kevin Smith
Tom Waits
Rain Dogs
Island—MCA
RAIN DOGS IS TOM WAITS' FIRST ALBUM
since 1983's Swordfishtrombones and, to say
the least, it is well worth the wait. Building on
both that album and his work on a play based
on "Frank's Wild Years," Waits has, with this
record, taken the narrative elements in his earlier
work and refined them; the result is a cityscape
worthy of Bertolt Brecht or Raymond Chandler.
Like Brecht and Chandler, Waits writes about
life on the seamy side; his songs conjure up images wrung from film noir and Twenties' Berlin:
shabby dockland, rainy streetcorners at midnight,
and seedy apartments in the wrong part of town.
BLOW-UP
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CITR MOBILE SOUND  228-3017 Waits' bourbon-and-cigarettes' rasp settles
neatly into such pictures; on "9th and Hennepin"
he sounds like some latter-day Marlowe mounting an all-night vigil, waiting for the break that
will unravel the case. At other times, he sets his
stories against a background of Nashville C&W
("Blind Love"), a New Orleans jazz funeral ("Anywhere I Lay My Head"), and, on "Cemetery
Polka" and several others, a jerky horns, accordion and double-bass arrangement that positively oozes Kurt Weill. (Waits recently recorded a
song for the Weilltribute LP, Lost In The Stars.)
Should you buy Rain Dogs? Well, if you like
Humphrey Bogart, Philip Marlowe, Sam Spade,
Mac the Knife, Surabaya Johnny and Louis Armstrong, then you probably have it already. If not,
this record forms a great introduction to the weird
and sometimes disturbing world of Tom Waits.
—lain Bowman
Death Sentence
Not A Pretty Sight
Undergrowth
A BIG PROBLEM WITH HARDCORE MUSIC
today is the existence of the vast bulk of
generic bands cloning GBH or Circle Jerks. This
is not the case with Vancouver's Death Sentence.
Live, they put on a highly energized performance
and their recent Undergrowth LP captures the
essence of Death Sentence fairly well. It's driving music. Drive your car into a wall, drive your
fist into the air, drive your grandmother insane.
What they play is good, heavy, fast, tight, just
enough riffs to keep you interested, happy-go-
lucky-sing-a-long choruses and blazing percus-
CITR fm 102 cable 100
sion. What they say is questionable. "Dawn of
the Dead" may make a valid social comment,
but "Feel Fucked" is a throwaway. And there's
lots of the stock anti-society stuff. Yet the album
still holds up after repeated listenings. If you like
them onstage, you'll like them on vinyl. But, hey,
where are the skateboard tunes?
—Terry Orr
Grace Jones
Slave to the Rhythm
Island
PERHAPS THE BEST THING ABOUT THIS
record is that it puts Grace into a perspective that fits. It's a visual album. Through over-
dubs of interviews with two men named Paul
something, readings by Jean Paul Goude (who
more or less made her out of something into
SOMETHING ELSE) and one song where the
only lyrics are "Miss Grace Jones," we are given
the portrait of a presence. That's really what this
lady is all about.
She's not a disco queen (anymore), she's not
a cult figure (not dreary enough), and I doubt if
she ever wanted to be a "progressive musical
force." Her early albums consisted mostly of
cover, from Petty to Piaf, while the number of
covers diminished between albums one and six,
the music was always part and parcel with the
persona.
The new seventh album is the closest thing
to a concept album she's ever done. The concept is Grace Jones. Some of the tracks are
blatantly aimed at the commercial market and
that's where they belong and where they are
already being played. Two, however, make Slave
to the Rhythm worth buying. "The Frog and the
Princess" and "Operattack" have Trevor Home
(Art of Noise) production written all over them.
He becomes the latest man to get a crack at doing something for her and he's done a beautiful
job.
What I want to know is when do I get my turn?
One of my fantasies is to cook brunch for Grace.
Local promoters take note.
—Larry Thiessen
OUR NEW YEARS
RESOLUTION —
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2936 West 4th Avenue
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January 1986
The Roving Ear II
This month from Ottawa
EVERYONE HAS BIASES, OR RATHER
unfounded misconceptions. When I
heard that I was being banished to
Ottawa for six weeks I thought I was gonna die!
I thought I was destined for a musical wasteland
that would turn me into a ranting autistic. OH MY
GOD, PLEASE NOT OTTAWA!
In retrospect I am deeply embarrased about
those episodes of paranoia. I found Ottawa to
have a thriving musical scene, with a full complement of local bands that are uniquely from the
National Capitol region. Let me tell you about my
adventures:
Firstly, that there is a thriving local music
scene in Ottawa at all probably can be credited,
for the most part, to the long-established "alternative" radio stations. From Carleton University
there's CKCU, now in its tenth year on the airwaves.
From the University of Ottawa there's CFUO,
a fledgling, lower-power station that caters to the
bilingual population as well. These two organizations sponsor much of the music happenings in
Ottawa and create opportunities for local bands
to play for the large university population in the
Ottawa-Hull area. First thing I did in Ottawa was
go to a local record store and grab a TRANS FM,
the CKCU monthly program guide/music mag
and got the low-down on what's happening in
town.
Ottawa itself is dead. Most of the craziness
happens in Hull, Quebec, which is right across
the Ottawa River. There's a 2 kilometer strip
called the Promanade du Portage which is lined with bars, clubs and discos and because the
bars stay open until 4 a.m., a night on the town
for many Ottawans means going to Quebec.
A lot of these clubs and discos play the overproduced, monotonous Donna Summerish-type
dance music that the Quebecois love so much,
but if you can put up with that it is a marvelous
atmosphere of good beer and good times, especially when the clubs open their doors and
windows on a warm, humid evening, and the Promanade is overflowing with music and people.
Photo Bev
The club scene is segretated by musical styles:
I managed to catch the Lonnie Brooks Blues
Band at the Rair' iw Bistro in the Byward Market
in Ottawa. The Rainbow regularly caters to local
and import blues talent, and provides a relaxed,
honest atmosphere. On the Promanade in Hull
you'll find Club Zinc. I saw Chris and Cosey
there, and as I walked through the door I was
greeted by the sounds of "Assimilate" and by the
sillouettes of big-hairs. The Club is just as preten
tious as its clientelle, but it must be credited for
allowing live music on a regular basis (e.g.:
Tupelo Chain Sex, bands from Ottawa, Montreal, and Toronto).
Finally there's Barrymore's: it's the Commodore of Ottawa, a converted vaudeville theatre
with red chintz, a stage looking up to FIVE levels,
and a gold brocade ceiling with a giant eagle
painted on it. This venue sponsors a potpouri of
bands, mostly import, such as Shriekback,
Mamas and the Papas, The Fabulous Thun-
derbirds, Burning Spear, John Mayall and the
Bluesbreakers and the Hoodoo Gurus to name
a few.
This kind of exposure and support can't do
anything but help foster a local music scene, and
the proof is in the pudding with Cassettera, an
Ottawa compilation tape produced by CKCU. On
this invaluable addition to anyone's Canadian
music library you'll find already familiar bands
such as Screaming Bamboo, The Randy
Peters, Porcelain Forehead, and Ultima Thule,
but also many other great tunes from unheard-
of bands (there's 13 altogether ranging from pop
to hardcore). One band to mention that didn't
make it on the tape is Gonks Go Beat, who play
a frenetic style of guitar-oriented party music (and
who are down-right wild in live gigs).
So I'm here to tell my story, and nobody is
more surprised than I am. Although I was homesick for Vancouver by the end of six weeks, I
could easily have been happy if forced to stay.
Actually, considering that Montreal is only two
hours away, and Toronto is only four hours away,
I think Ottawa has a lot going for it in many ways.
Ontario—it's yours to discover.
—Beverly Demchuk
Cassettera can be purchased by sending $7.47
plus $1.25 postage and handling to CKCU/
Cassettera Offer, 517 Unicenter, Carleton University, Ottawa, Ontario, K1S 5B6.
mm
I   Hll W0M5AT..
MATS NBW?
/
My
ytr...
3Z4NP NEH/t special events
JAN:    6, 13, 20, 27
BLUES MONDAYS
-All star Blues Jam Session
every monday in January.
JAN: 23
Rhythm Mission
-Record release: PARTY
with very special guests.
JAN: 30
Skeleton Crew
- Fred Frith -
Advance Tix available
PHONE FOR INFO
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[  MONDAY                  1         TUCSDAY
WEONCSOAY                    TMUBSOAY                          fHlOAY                          SATURDAY
CLOSED       I                                                    3with
HAPPY NEW              POKONPn
year        1    rUI5>UINfcU       special guests
all
star
Jam
sessions
1 Th6a^S'
1 i&r
»                                                                  1 1                                              10
SPIRIT OF THE WEST                  tt-S\0^
cOft ^      with 4
GO                   guests
SEATTLES     ^^JS
2>                                                          "
NERVE TUBES
1  RHYTHM    "
MISSION
BEVERLY SISTERS
?e                                         ?9
BRILLIANT ORANGE
with guests
1* SKELETON
CREW
ox <***
|  e°U          Soul, Funk
P?HaVo7mGHTCLUB   6 pS^U?«town,Vancouver, 687-0418 |
>
>
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*
* 	
AIWA
Simply Advanced
AIWA HS-T06
ADVANCED VALUE! AM/FM
AUTO-REVERSE WITH DOLBY!
Features
AM-FM radio,
Dolby, auto
reverse, metal
capable,
deluxe headphones,
anti-roll
\88
m
AIWA        HS-G08
LOGICALLY ADVANCED
FEATHER TOUCH OPERATION, REMOTE
CONTROL, 5 BAND EQUALIZER
Features
remote control, 5
band equalizer, auto-
reverse,
micr«-touch
controls, anti-
roll, Dolby,
metal
m
AIWA
HS-J70
STEREO RECORDING AND
AUTO REVERSE PLAYBACK WITH
AM/FM STEREO ENJOYMENT
Features
records, AM-FM,
Dolby, 3-way auto-
reverse, condensor
mic included, anti-
roll, 15 hour
operation
2*9
AIWA      cs-210
AM/FM PORTABLE CASSETTE WITH
GREAT SOUND AND GREAT LOOKS
Features
20 watts output
AM-FM, built in mics, auto-stop, universal
voltage selector ^ntfUjJPfcj^ua
13Q
AIWA      cs-rio
SIMPLY ADVANCED AM/FM
AUTO-REVERSE WITH FEATHER-TOUCH
I.C. LOGIC CONTROLS
Features
auto-reverse, IC logic
contols, 4 speakers, cue &
review, auto-loudness
m
AIWA
PORTABLE AUDIO COMPONENT SYSTEM
WITH 5 BAND GRAPHIC EQUALIZER
36 watts, phono input,
Dolby, music sensor
AIWA      ADR-450
WORLD'S FASTEST
AUTO-REVERSE CASSETTE DECK
Features ^^^^
0.2 second 3-way auto
reverse, Dolby B & C, feather-touch IC
logic, micro-grain capstan, bias
fine-adjust
299
AIWA      ADR-650
BEST BUY RATED 3-HEAD AUTO-REVERSE
CASSETTE DECK
Features
0.2 second 3-way, 3-head auto-reverse,
Dolby HX professional noise reduction,
Dolby B & C, auto-demag
88
AIWA  AD-WX220
HIGH-SPEED DUBBING DECK WITH
ALL-TRAC4X SPEED RECORDING
Features
all-trac 4X speed recording, dubs C-90 n
22.5 minutes, 4 motors, 10 selection
random programming,
Dolby B & C M-.
m
DOWNTOWN VANCOUVER:
810 Granvilli
(Open Sunda
599 Seyr
(Open Suhue>
(at Robson) 682-5221
s Noon-5 P.M.)
VANCOUVER: Oakridge Shopping Centre
261-0258 (Open Sundays 11 A.M.—5 P.M.)
RICHMOND: Lansdowne Park Shopping Centre
278-3041 (Open Sundays 11 A.M.-5 P.M.)
PORT COQUITLAM: 2877 Shaughnessy Street
941-0551 (Open Sundays Noon-5 P.M.) K*

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