Wednesday, epril 27, 1977
dally ncbr&kch
QWeys . stillborn hope inGiiesrmchmequn lyrics
Review by DoisgSss ' It. Well . od
Michsd Zangsri .' ' .
Ccrizad MittylGhost WriterAMA Rec
ords SP4629
Many have tried and failed. But Garland
Jeffreys succeeds when he steps out to let
loose with a scream echoing his very deep
felt anger-charged with unnerving emotion
and padded with a very real sense of total
frustration.
The dedication to Jeffreys first A&M
album, Ghost Writer, is a representation of
the whole:
" dedicate this album to the abused
and battered children of the world in hope
that we can all make it through ; . ."
But to say that Jeffreys is angry is far
too simple and in a sense, telling just a part
of the story. Still, most major critics have
been concerning themselves with Jeffreys
latent anger, but it isn't the bile that
bubbles over on this album. Sure, Jeffreys
certainly hits with, a verbal machine-run
punch on songs like "Wild in the Streets'
and "Why-O". .
But the tendency toward the personal
frustration so evident in the ghetto liter
ature of. the early 1960's is the main thrust
here.
But wh
Geftfcjaway
Springsteen speaks
about
getting away and leaving the garbage heap
and death trap of urban living behind, he
speaks from dreams and hopes.
Any hope that Jeffreys has is still-born.
His dreams are nightmares, dreams of
despair, or total fantasy. He knows there is
no escape except maybe into the outside
world that he just vaguely sees through the
haze.
But Jeffreys, and Springsteen are ,
different. Springsteen is urban but not
quite ghetto. You heed wheels if you're
born to run, if you've got a ghetto shackle
on both legs you pray to walk ...
Pressure?
If it's not Jeffreys' own innate fears
holding him back then it's the pressure he
grew up with. "Cool Down Boy", a jumpy
rocker with a smooth almost hypnotic
reggae bridge, conveys it more with rinding
than a tangible lyrical base.
"Cool Down Boy" is filled with a feel
ing of suppression. The youth in him is
kicking-kJcking to be free-as the silky
bridge comes through the heat, almost like
a dream, saying, "cool down boy.- . .".
From teachers, "cool down boy", from his
parents, from the world, "you bettervcool
down". , '
In "Why-O, Jeffreys . observes the
politics of urban busing as the long-malevolent
"they cram racial integration down
the throats of all the trampled minorities
blacks, Puerto Ricans and yes, even the
middle-class whites. But! "Why-O" is more
than the governor telling the frightened
children and parents, Don't Ja-make-a- -fuss."
Jeffreys doubts he can become part of it '
because he has only witnessed this society
by looking at night time skylines and
silver screen-projected dreams. And that is
a problem. 1
. . Lacks focus :
Jeffreys anger sometimes lacks a focus
as on "Wild in the Streets". From a simple
and quiet acoustic passage, "Wild in the
Streets" builds into whispered intensity.
When it finally flows out, it's torrent.
"Wild in the Streets" is a defiant "what
about me?" anthem for those left to roam
wild. The urgent and catchy chorus is
sometimes whispered, sometimes yelled-a
mixture of passion and realization. A high
powered lead guitar line slices through it
and focuses everything to a laser beam
intensity.
Aside from all this expression of
personal emotion there is more than a trace
of excellent musicianship on showcase.
The base of the album's sound is soft
reggae, blended with the better part of pop
rock and straight-ahead rock 'n roll. While
all this cduld end up muddled it succeeds
because it never overemphasizes one in
fluence over another and still manages to
pay each approach its due.
Specific instrumental are the lilting
gospel-based organ and "the latin-laced
guitar. ' ; "" .
The power of the album is not in ,
Jeffrey's lyrical wisdom-it is his worldly
wisdom. The music ties this all together
beautifully.
Any interjection of honest emotion in a
disco-pop mindless rock world is welcome
relief from the American Bandstand
intellect of a mass-media art. ' '
;;,. ' ("--""' I -TWO-CITHER
: I ' ) That'i the'way it is
AMERICAN ' V -n ) t Hsadi Tjojstfrar. '
" '" ' CANCER C0 ( Jwj j Our ii'pcr-styttstssfit it tsthar.
j sockty!? ... bL ' H.
I : ',.,:: I .' ( hA f cut th way you li!t it. ' 1
wmifMmmmB o-T Enjoy il our t p3f-rsrwe.
, L !'' Cs:i47S4C32 .".-,J I
flf! S!i dsfen Art Gall cry 1
i : J " " THE .f V
Of
Q.a fooling ono gots from consuming massivo
; amounts of hamburgers, combined with a
dosiro to eat something different.
ivk iT mM ,r mum
O a STEAK-KEBOB from Price's Mr. Steak:
. sirloin tips, green poppers, onions, and
mushroom on a skewer.
Qfl
(3 LJzzi a Ezca'sa adaaaopaaaaanapaaa1
- PrcsDnt this cd and recoluo 10.. off
f ho regular prlzo f a STEAIC-ItSOOB.
: 1 Expires f.!jy 13, 1077
Q
0
Q
U . No limit to number of people per coupon. "
Directed by
Jshn
Cssavts.
Starring
Ban - :
Gazsaro.
Stirring "
A Quality Adult Film
Plus
Dcni;h pastries".
Continuous from 1 1am
Late show Fri-Sat. :
Must be 18-Have I.O.
fOLUiMG.
OF
A
CHINESE & Y
; COOKIE. ,fla;
r Tuesday through Saturday -
- April 25, 27, 20, 29 & S0.
Screenings at 7 & 9:15 p.m. '
j Friday & Saturday matinees at 3 p-nv.
"Visually stunning,
stylistically extrava
gant, this film con
verts Cassavete's
excesses to a prod
igal poetry."
Newsweek
after -four years of
prep.ara.tion and-production
A UNIVERSAL RELEASE
ALBERTO GRIMALDI
presents
8
n
a
CD
IPsIlIlfiiian9
HIS FIRST ENGLISH LANGUAGE FILM
inC-
9 . '
;iiii:ii:tf
c
" ' it;
H !
11
I f iPSh 1 '; 'V-HttdOm:'- h I : -.
I -:Kl i, . . I : - 1
1 T Ct V
t, . i - Dir-ctoc of nwarmhr CR,'SPFE ROTUNSai t Mutk by NINO ROTA !
ci - . . i.-' t f : aiv7 .
I - V : I TtCHNK.tLOR
ARALPIIf5H!nLM J f VjjJjij iX'.jj I j
r- - . t.w.l' ( 1
a
a
a
3
ft
a
a
B
a
a'
Film by FEDERICO FELLINIs., DONALDS
fTroduced by ALEERTO GRIMALDI sy nj SctwnpUy by fedeeico rrxirNi .nd r
UTHERLANO
PERNAEDINO ZAJVOnS
-rf iBtK -o ii
Tc:"v.t it C:15
m
m
m
m
