New Musical Express, September 17, 1977: Difference between revisions
(formatting) |
(formatting / update image links +tags) |
||
Line 16: | Line 16: | ||
Indeed, this year's Garden Party had a definite air of resigned sufferance about it, both in the lacklustre bill and general concept. What is the point of paying over the odds for the dubious benefit of sitting on the grass to watch four or five bands you probably didn't want to see in the first place while you wait for the one you did? Maybe it's just an elaborate ploy to provide more time for perusal of the disposable trinket stands, or maybe there isn't any point at all — just that old habits die hard. | Indeed, this year's Garden Party had a definite air of resigned sufferance about it, both in the lacklustre bill and general concept. What is the point of paying over the odds for the dubious benefit of sitting on the grass to watch four or five bands you probably didn't want to see in the first place while you wait for the one you did? Maybe it's just an elaborate ploy to provide more time for perusal of the disposable trinket stands, or maybe there isn't any point at all — just that old habits die hard. | ||
The latter could be one of the reasons why I arrived late and missed most of Crawler's set, but we won't go into that. It could also be one of the reasons why Crawler — who seem to turn up down bill to everybody, like | The latter could be one of the reasons why I arrived late and missed most of Crawler's set, but we won't go into that. It could also be one of the reasons why Crawler — who seem to turn up down bill to everybody, like '77's Capability Brown (remember them?) — are plumbing an already overworked vein of strident guitar-fired blues rock, but we won't go into that either. | ||
Suffice to say that they do what's been done before with marginal relief from the style's previous tedium, and were received with polite disinterest by the crowd. | Suffice to say that they do what's been done before with marginal relief from the style's previous tedium, and were received with polite disinterest by the crowd. | ||
Line 26: | Line 26: | ||
In many ways this kind of thinking person's approach to music, be it jazz or rock or jazz-rock, has taken up the torch of progressive rock. Most people I've talked to will claim so-and-so's undeniable instrumental ability in its defence, which is fair enough, and as a criteria it's one of the reasons why Brand X cut it where others don't. But in the end it's merely an extension of the Is-Alvin-Lee-Faster-Than-Eric-Clapton syndrome, and on that level it's just as boring. | In many ways this kind of thinking person's approach to music, be it jazz or rock or jazz-rock, has taken up the torch of progressive rock. Most people I've talked to will claim so-and-so's undeniable instrumental ability in its defence, which is fair enough, and as a criteria it's one of the reasons why Brand X cut it where others don't. But in the end it's merely an extension of the Is-Alvin-Lee-Faster-Than-Eric-Clapton syndrome, and on that level it's just as boring. | ||
After a special appearance by a plucky streaker, | After a special appearance by a plucky streaker, Southside Johnny and the Asbury Jukes took to the stage. They looked resplendent, if a little out of place, in their real sharp suits, and the crowd greeted them like they knew they were in for a good time. Sad to say that the Jukes didn't quite deliver. | ||
This band is usually a better bet live than they are on record. The revamped '60s soul revue makes sense in the sweaty environment of a live gig, but just sounds like high quality nostalgia on disc. However, at an outdoor, daytime affair all the in-concert qualities are lost, and they ended up looking like a bunch of clowns wearing dumb suits. | This band is usually a better bet live than they are on record. The revamped '60s soul revue makes sense in the sweaty environment of a live gig, but just sounds like high quality nostalgia on disc. However, at an outdoor, daytime affair all the in-concert qualities are lost, and they ended up looking like a bunch of clowns wearing dumb suits. | ||
Line 36: | Line 36: | ||
Brand X went over better because the mood of their music better suited the afternoon's ambience. Curiously though, the best response thus far and the first standing ovation of the day — went to the streaker. Perhaps Roy Carr can explain why ... | Brand X went over better because the mood of their music better suited the afternoon's ambience. Curiously though, the best response thus far and the first standing ovation of the day — went to the streaker. Perhaps Roy Carr can explain why ... | ||
{{cx}} | |||
<br><br> | |||
[[image:1977-09-17 New Musical Express photo 01 cd.jpg|410px|border|center|thumb|Photo by [[Chalkie Davies]].]] | |||
{{tags}}[[Crystal Palace Bowl|Crystal Palace]] {{-}} [[Garden Party X|Garden Party]] {{-}} [[The Attractions]] {{-}} [[Steve Nieve|Steve Manson]] {{-}} [[Bruce Thomas]] {{-}} [[Pete Thomas]] {{-}} [[Welcome To The Working Week]] {{-}} [[Less Than Zero]] {{-}} [[(The Angels Wanna Wear My) Red Shoes]] {{-}} [[Miracle Man]] {{-}} [[Mystery Dance]] {{-}} [[No Action]] {{-}} [[Lipstick Vogue]] {{-}} [[(I Don't Want To Go To) Chelsea]] {{-}} [[Lip Service]] {{-}} [[Radio, Radio]] {{-}} [[Watching The Detectives]] {{-}} [[Southside Johnny]] {{-}} [[Brand X]] {{-}} [[Crawler]] {{-}} [[Phil Collins]] {{-}} [[Nashville Rooms|The Nashville]] {{-}} [[Hammersmith Odeon]] {{-}} [[Rainbow Theatre|The Rainbow]] {{-}} [[Santana]] {{-}} [[Question Mark & the Mysterians]] {{-}} [[The Zombies]] {{-}} [[Declan MacManus]] {{-}} [[Ross MacManus|Day Costello]] {{-}} [[Stiff Records]] {{-}} [[Nick Lowe]] {{-}} [[Paul Conroy]] | |||
{{cx}} | {{cx}} | ||
Line 53: | Line 60: | ||
{{Bibliography images}} | {{Bibliography images}} | ||
[[image:1977-09-17 New Musical Express | [[image:1977-09-17 New Musical Express page 47 clipping 01.jpg|x310px|border]] | ||
[[image:1977-09-17 New Musical Express clipping 01.jpg| | [[image:1977-09-17 New Musical Express clipping 01.jpg|x310px|border]] | ||
<br><small> | <br><small>Clippings.</small> | ||
{{Bibliography box | {{Bibliography box}} | ||
<center><h3> ...And wilting in the ozone </h3></center> | <center><h3> ...And wilting in the ozone </h3></center> | ||
---- | ---- | ||
Line 80: | Line 87: | ||
It was almost as if Costello was putting both the audience and himself to test. I'm not sure what his motives were — maybe he's masochistic — but he sure as hell went about it the hard way. | It was almost as if Costello was putting both the audience and himself to test. I'm not sure what his motives were — maybe he's masochistic — but he sure as hell went about it the hard way. | ||
The PA certainly didn't help. As the lyrical content of Costello's material is very wordy, the impact of such newer songs as "There's No Action," "Lipstick Vogue," "I Don't Want To Go To Chelsea," "Lipservice," "Radio, Radio" and the incredible "Watching The Detectives" was lost on the breeze. | The PA certainly didn't help. As the lyrical content of Costello's material is very wordy, the impact of such newer songs as "There's No Action," "Lipstick Vogue," "I Don't Want To Go To Chelsea," <!-- "Lipservice," --> "Lip Service," "Radio, Radio" and the incredible "Watching The Detectives" was lost on the breeze. | ||
Had Costello had more experience of working such a large audience he'd have pulled the gig off without too much difficulty. As it was, there seemed to be a certain degree of resistance emanating from both sides of the pond, with the result that he scooted-off to a polite trickle of applause and no encore. | Had Costello had more experience of working such a large audience he'd have pulled the gig off without too much difficulty. As it was, there seemed to be a certain degree of resistance emanating from both sides of the pond, with the result that he scooted-off to a polite trickle of applause and no encore. | ||
Line 96: | Line 103: | ||
That's one analogy. At another extreme they can be likened to a premature ejaculation. Having reached an orgasmic peak so early in their performance, they then spend the next two hours going through the same motions, until the batteries need replacing. | That's one analogy. At another extreme they can be likened to a premature ejaculation. Having reached an orgasmic peak so early in their performance, they then spend the next two hours going through the same motions, until the batteries need replacing. | ||
Building their programme around the more familiar highlights from their first three albums, Carlos & Co also sprinkle their set with more recent tracks like "Let The Children Play" and a thoroughly bizarre latinised rework of | Building their programme around the more familiar highlights from their first three albums, Carlos & Co also sprinkle their set with more recent tracks like "Let The Children Play" and a thoroughly bizarre latinised rework of The Zombies' "She's Not There." | ||
However, long before the set reached its logical conclusion the incessant rattling of pots and pans became somewhat overpowering. Aside from "Black Magic Woman" and an instrumental ballad (the title of which eludes me), the only respite was C. Santana's stylish ability to overlay the recurring rhythm patterns with regular forceful guitar breaks and sustained sub-sonic one-note aerobatics. | However, long before the set reached its logical conclusion the incessant rattling of pots and pans became somewhat overpowering. Aside from "Black Magic Woman" and an instrumental ballad (the title of which eludes me), the only respite was C. Santana's stylish ability to overlay the recurring rhythm patterns with regular forceful guitar breaks and sustained sub-sonic one-note aerobatics. | ||
Line 107: | Line 114: | ||
<br><br> | <br><br> | ||
{{Bibliography box | {{Bibliography box}} | ||
<center><h3> Blackmail Corner </h3></center> | <center><h3> Blackmail Corner </h3></center> | ||
---- | ---- | ||
Line 128: | Line 135: | ||
{{cx}} | {{cx}} | ||
<br><br> | <br> | ||
<small>Cover.</small><br> | |||
[[image:1977-09-17 New Musical Express cover.jpg|x120px|border]] | [[image:1977-09-17 New Musical Express cover.jpg|x120px|border]] | ||
{{Bibliography notes footer}} | {{Bibliography notes footer}} |
Revision as of 21:14, 30 April 2020
|