Rolling Stone, June 29, 1978: Difference between revisions
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[[Kit Rachlis]] reviews ''[[This Year's Model]]''. | [[Kit Rachlis]] reviews ''[[This Year's Model]]''. | ||
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[[Ariel Swartley]] reviews Elvis Costello & The Attractions | [[Ariel Swartley]] reviews Elvis Costello & The Attractions and opening acts [[Nick Lowe]] and [[Mink DeVille]], Thursday, [[Concert 1978-05-04 Boston|May 4, 1978]], Orpheum Theatre, Boston. | ||
{{Bibliography images}} | {{Bibliography images}} | ||
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<br><small>Page scans.</small> | |||
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[[image:1978-06-29 Rolling Stone photo 01 jc.jpg| | <small>Photo by [[Jody Caravaglia]].</small><br> | ||
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When the last encore was finished — the band gone and the houselights coming up — Elvis Costello didn't leave. He switched off his onstage presence like it was another piece of equipment and came down front to confer with the promoter's staff about an incident that had occurred a few minutes earlier. Costello had been closing a brilliant show with "I'm Not Angry" — biting the words back to a terrifying, sweet reasonableness just as the crowd was expecting a shout of defiance — when someone in one of the front rows collapsed. The flashlights, the running figures, the current of curiosity closing in on the emergency were the kinds of distractions most performers would have wished away by playing like nothing was happening. But Costello signaled the drummer to carry on softly, motioned the video cameras that had been taping the show to back off, and went to see what the trouble was. When it was time for his guitar solo, he played it on his knees, alone at the edge, personally exorcising the crisis. | When the last encore was finished — the band gone and the houselights coming up — Elvis Costello didn't leave. He switched off his onstage presence like it was another piece of equipment and came down front to confer with the promoter's staff about an incident that had occurred a few minutes earlier. Costello had been closing a brilliant show with "I'm Not Angry" — biting the words back to a terrifying, sweet reasonableness just as the crowd was expecting a shout of defiance — when someone in one of the front rows collapsed. The flashlights, the running figures, the current of curiosity closing in on the emergency were the kinds of distractions most performers would have wished away by playing like nothing was happening. But Costello signaled the drummer to carry on softly, motioned the video cameras that had been taping the show to back off, and went to see what the trouble was. When it was time for his guitar solo, he played it on his knees, alone at the edge, personally exorcising the crisis. | ||
Costello's performance was the climax of a triple bill, featuring | Costello's performance was the climax of a triple bill, featuring Nick Lowe and Mink DeVille, that could have been titled Meet the ''Nouvelle'' Rock & Roll. On paper it was a bargain pack: three artists who have in one sense or another repudiated the studio-sterile, big-business-cautious music of the rock establishment, and its affluent isolation. In progress it was ill assorted. | ||
Nick Lowe — friend, producer, influence on and perfect foil for Costello — was just hitting his stride when his half-hour was up, and though his brief set was punchy enough to earn him an encore from a crowd who knew his name better than his music, he wasn't allowed to take it. Onstage, Lowe recalls [[Ian Dury]]'s description of Gene Vincent in his white face, black shirt, black pants and white shoes. His rock & roll is equally lean and classic. Almost abstract, deliberately impersonal. He has a formalist's delight in pattern and contrast, a phenomenalist's fascination with the absurd and a healthy inhibition against taking himself too seriously. | Nick Lowe — friend, producer, influence on and perfect foil for Costello — was just hitting his stride when his half-hour was up, and though his brief set was punchy enough to earn him an encore from a crowd who knew his name better than his music, he wasn't allowed to take it. Onstage, Lowe recalls [[Ian Dury]]'s description of Gene Vincent in his white face, black shirt, black pants and white shoes. His rock & roll is equally lean and classic. Almost abstract, deliberately impersonal. He has a formalist's delight in pattern and contrast, a phenomenalist's fascination with the absurd and a healthy inhibition against taking himself too seriously. | ||
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[[image:1978-06-29 Rolling Stone photo 04 jc.jpg| | [[image:1978-06-29 Rolling Stone photo 04 jc.jpg|360px|border]] | ||
<br><small>Mink DeVille photo by Jody Caravaglia.</small> | <br><small>Mink DeVille photo by Jody Caravaglia.</small> | ||
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[[image:1978-06-29 Rolling Stone photo 02 jc.jpg| | [[image:1978-06-29 Rolling Stone photo 02 jc.jpg|x130px|border]] | ||
<br><small>Photos by Jody Caravaglia.</small> | <br><small>Photos by Jody Caravaglia.</small> | ||
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<br><small>Cover and clipping.</small> | |||
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Revision as of 02:11, 31 March 2015
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