Creem, June 1980: Difference between revisions
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Great rockers have always had an anti-professional secret code for major TV appearances. But in 1978, when Elvis Costello first stumbled onto the set of ''Saturday Night Live'', I missed the message altogether, unable to distinguish between the artist and the entertainers. As if live TV were just one more band rehearsal, Costello stalked the stage, charmless and bug-eyed, stopping a song in mid-phrase for no discernible reason and immediately starting another. At the time I thought the performance was more nervy bullshit from a minor league master of effrontery, further evidence of his generally graceless contrariness. I was wrong. | Great rockers have always had an anti-professional secret code for major TV appearances. But in 1978, when Elvis Costello first stumbled onto the set of ''Saturday Night Live'', I missed the message altogether, unable to distinguish between the artist and the entertainers. As if live TV were just one more band rehearsal, Costello stalked the stage, charmless and bug-eyed, stopping a song in mid-phrase for no discernible reason and immediately starting another. At the time I thought the performance was more nervy bullshit from a minor league master of effrontery, further evidence of his generally graceless contrariness. I was wrong. | ||
I'm suspicious by nature and my standards are — uh — rigorous. In the first flush of new wave enthusiasm, when those folks who now think that the Clash is the greatest rock 'n' roll band in the world were thrilled to find a hard edged limey with U.S. commercial potential, I was genuinely offended. I thought he was a rock star from Superman Comics' bizarro world — absolutely everything was somehow wrong: his assumed nom de bop (total irony), his appearance (Buddy Holly on belladonna), his petty nastiness (he certainly had no gift for the grand gesture), etc. And yet, obviously, something important was going on — I can't usually list that many reasons for ''liking'' someone. The mid-60's Dylan parallel was clear: the sound of the band, the "how far in do you want to go" lyrics, and, of course, the hortatory tone, the imperious, impervious cynicism. The second album, ''This Year's Model'', began to grow on me. With the release of ''Armed Forces'' last year, I felt compelled to listen and, grudgingly, to admire Elvis Costello. | I'm suspicious by nature and my standards are — uh — rigorous. In the first flush of new wave enthusiasm, when those folks who now think that the Clash is the greatest rock 'n' roll band in the world were thrilled to find a hard edged limey with U.S. commercial potential, I was genuinely offended. I thought he was a rock star from <i>Superman Comics</i>' bizarro world — absolutely everything was somehow wrong: his assumed nom de bop (total irony), his appearance (Buddy Holly on belladonna), his petty nastiness (he certainly had no gift for the grand gesture), etc. And yet, obviously, something important was going on — I can't usually list that many reasons for ''liking'' someone. The mid-60's Dylan parallel was clear: the sound of the band, the "how far in do you want to go" lyrics, and, of course, the hortatory tone, the imperious, impervious cynicism. The second album, ''This Year's Model'', began to grow on me. With the release of ''Armed Forces'' last year, I felt compelled to listen and, grudgingly, to admire Elvis Costello. | ||
None of this inner struggle (curiosity, repulsion, admiration) could have prepared me for ''Get Happy!!'', a work of such richness, complexity, and unflagging energy that I remain astonished. I am frankly at a loss to explain why its release wasn't treated as a certified, bona fide rock & roll event (it hasn't exactly been greeted with a rush of acclaim) although this may have more to do with Costello's quirky, constricted splendor than with the expiration of his 15 minutes of fame. Be that as it may, ''Get Happy!!'' is an extraordinary piece of work with 20(!!) songs - 18 originals and two totally reupholstered soul covers — on one record. | None of this inner struggle (curiosity, repulsion, admiration) could have prepared me for ''Get Happy!!'', a work of such richness, complexity, and unflagging energy that I remain astonished. I am frankly at a loss to explain why its release wasn't treated as a certified, bona fide rock & roll event (it hasn't exactly been greeted with a rush of acclaim) although this may have more to do with Costello's quirky, constricted splendor than with the expiration of his 15 minutes of fame. Be that as it may, ''Get Happy!!'' is an extraordinary piece of work with 20(!!) songs - 18 originals and two totally reupholstered soul covers — on one record. |
Revision as of 03:48, 16 July 2019
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