Tuesday, April 7, 1987
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By Rob Earle
Well, here it is, the long awaited
preview of the new issue of the
Gargoyle. Too bad my original;
version was lost in computerland
and I had to throw this together in
the midst of a busy nightshift while
a bunch of people are threatening to
picket the Daily today.-
It's too bad I don't have the
exact quote from Garg Editor Ivan
Sanchez about how the new issue is
one of the best in 20 years.
I can't tell you how he thought
some parts of the Decadence issue
weren't even funny and how he
gave me this long speech on the
loss of historical perspective among,
today's college students as a major
force behind today's decadent
ive up t
I can't tell you about the great
work by old Garg hands Danny
Plotnick and Mark Dancey in the
new issue. One reason I can't tell
you is Ivan wouldn't tell me so I
couldn't give away what's in the
issue. Another reason I can't tell
you is my original preview was
lost in these damn computers.
I can't tell you about the slick
design by Tim Fitzpatrick and Bill
Kaliardos that make it the most
readable Garg ever.
I can't tell you all the nasty
things Ivan said about the Daily,
the Ensian, myself, the men's
room, Board of Student
Publications Chairman Charles
Eisendrath, and the "bunch of
manics with the matches and
kerosene" who are running the
I can't tell you that Ivan gives
o its title
credit to "engineers and cellular and
molecular biology majors" for the
success of the new issue.
I can tell you the new Decadence
issue will be sold in front of the
Union and in the Diag today for
only a buck, possibly the last issue
sold at that incredibly low price.
I can tell you to look for the (as
yet undetonated) bomb that is the
trademark of Garg hucksters, and
the purple cover with Max
Headroom on it.
And if any of the1400 press-run
limited editions are left after the
Garg creeps get tired of pestering
people, I can tell you they will be
'available in the Student
Publications Building during
regular business hours. Unless
we're still being picketed, of
Even afternoon TV isn't safe from the crusading Gargoyle staff.
All the News That's Fit to
It's yesterday's news we're
treated with in this reissue of Ochs'
Alongside Bob Dylan and Tom
Paxton, Ochs was one of the big
tiree topical songwriters of the
early 1960s. Of those three, he was
klearly the one who couldn't last.
Fair angrier than Paxton and more in
touch with political reality than
"Dylan, he grew disenchanted at the
edlipse of the peace movement in
the mid '70s and took his own life.
While this was the first album
he recorded, it catches him already
4'ell established within folk circles.
Unable to secure a recording
;eontract until Dylan proved folk
music could win a major following,
"he had published almost 50 songs
in topical music publications before
the deal came through.
In some ways he's at his most
ambitious here. "Power and the
Glory," is a clear attempt to
reconcile his faith in America with
the countless injustices he saw
around. him. This original studio
recording has been unavailable for
some time now.
At the same time, though, songs
like "Lou Marsh," "The Thresher,"
and "Celia," all designed to call
attention to specific current events,
take on an unsettling aspect they
could never have had a quarter of a
century ago. A tribute to William
Worthy, for example, turns into an
unintentionally cynical statement
- none of us remember him -
while it was written as a
For Dylan fans this album is
fascinating to compare with The
Times They are A-Changin'. After
Dylan, nobody could write great
topical songs as consistently as
Ochs. This album's "Too Many
Martyrs" grows out of the same
incident that prompted Dylan to
write "Only a Pawn in Their Game"
and the contrast between the two
songs underscores the differences
between the two artists.
This album has a good
smattering of Ochs and is
fascinating as a document of the
time, but as an introduction it's
probably better to check out Chords
of Fame on A&M. Ochs is worth
hearing, but his voice is growing
fainter as his news grows older.
You're Only as Blind as Your
Mind Can Be
"Breaking up is hard to do." No,
D.C.3. has not started to cover Neil
Sedaka tunes, but this line would
not sound out of place on their,
latest record. You're Only as Blind
as Your Mind Can Be, despite the
incredible possibilities of its title,
focuses entirely on their lead singer,
former Black Flag member Dez
Cadena, and the end of his most
Song titles such as "Lost
Someone," "Party for One" and
"Talkin' to the Mirror" illustrate
the album's preoccupation with
breakups and loneliness. The rest of
the titles and all of the lyrics are in
a similar vein. Even the one cover
song, the R&B standard "I Ain't
Got You," matches the lyrical form
exactly. Only the two excellent
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instrumental tracks give the listener
a respite from these declarations of
loneliness. They fit in with the rest
of the record however, as one is the
title track and the other is called
"Baby, You Know Where I Live."
To support all these depressing
lyrics the band plays standard heavy
blues descended directly from bands
of the second British Invasion such
as The Animals, Cream, and Deep
Purple (the excellent album cover
foreshadows the Purple influence).
On top of this is layered some Ray
Manzarek styled keyboards and
Cadena's droning vocals.
Perhaps you, too, have recently
experienced the end of a
relationship, and you're thinking
that this might be just the tonic for
you. Well, I wouldn't recommend
it. The bands mentioned above and
even traditional blues cover the
same topics, but at least they offer
some songs of happiness and hope
for the future. You're Only As
Blind ... depressingly drones on and
on, and only proves that the power
of the blues will never die.
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