1984-08-24 Rochester Hills concert program: Difference between revisions
(start page) |
(+uncorrected scanned text) |
||
Line 20: | Line 20: | ||
<br><small>Cover and page scan.</small> | <br><small>Cover and page scan.</small> | ||
<br><br><br><br><br><br><br> | |||
<br><br><br><br><br><br><br> | |||
<br><br><br><br><br><br><br> | |||
{{Bibliography text 1}} | |||
uncorrected scanned text | |||
The career of Elvis Costello combines elements of inspired judgment, fierce commitment, faultless taste, and sheer inspiration — amongst other factors. Emerging at the | |||
forefront of a period in rock history that spawned a considerable amount of talent, Elvis has developed into the consummate "new wave" artist, unwilling to remain swains | |||
aithin the musical contain for too long. and breaking new | |||
ground with total confidence and immense uyk. At | |||
sOnntrter he a surd) one of rock's most articulate and | |||
peotific. stoic to %stile comfortably and ►mpasustis anon the | |||
ohok spectrum of contemporary musk. And as a .anger | |||
his live petformanco have prosoked the most teams | |||
admiration. | |||
Accompanied perfectly by the Attractions — Stew Nose on | |||
keyboards. Boise Thomas on bats. and drummer Pete | |||
Thomas — Ehis it capable of debrstring the son of assemble | |||
rock performance that none of his coestemeorwies can match | |||
in intenun and ctass. Witness the revamped versions of | |||
"Watching the became." and "Cloantime Is Owe' for | |||
example of this. To the astute °buena. honver, all this and | |||
"Alison" atone provided substantial esideme that a major | |||
satsuma as about to make his protect felt. | |||
1976: Unknown and unannounced. this Costello %balked | |||
into the offices of Stiff Resads one day. struck up an instant | |||
rapport olds stars then-worms° Jodi Riviera. ass signed to | |||
the label immediate). and plans were made to launch him | |||
into s public that bad Wm starved of such take for too | |||
Ion. Yet 4 would be tornahang of an understatement to to | |||
that this' initial attempts at sirok-handedly roual►nnt a | |||
stale mink lane were successful. | |||
1977: Three arresting and unagmative tingles oat owed on | |||
Stiff in England. "Lest Than Zoo." ''Altsoo." and "The | |||
Angels Warms Wear My Red escies." followed by his debut | |||
album My Alas Is True. The LP remained on the U.K. chart | |||
foe 12 weeks. reached the 114 spot. and was goat an elicited | |||
tote of anoint by the media shoe like tun discerning re►ord-buying academe. sensed a change in the air. a feeling that | |||
artists like Elvis sae about to change drastically the then-curfew state of rock. His first gig was a solo spot supporting | |||
the Rumour at the Nashville in London; 1 months later at the | |||
sank club. an estimated 700•plus people were locked out | |||
words* • screw that London rock gigs seldom enjoy. | |||
The Attractions mere formed in June. a trio of u.spano | |||
indisiduals with the collective talent needed to miaow Els it' | |||
rot rrookal imagination, Elvis spent the remainder of the year | |||
in England oa-tour. most notably on the "Inc Stiffs" all-mars package with Nick ton. Ian bur). and Watkins Eric. | |||
whale a fourth single. "Watchiag the Detectives." readied 113 | |||
on the U.K. chart. | |||
The latter pan of 1977 saw this conquerint Amok.. as | |||
the rekase of his firm ungk foe Columbia Records here. | |||
"Alison." immediately preceded the appearance of My Abs Is | |||
Tree us No rhos maiden soyage of the Colonies | |||
began on the 15th of Nowmtver at the ()Id %labia( in San | |||
rtatiasco math a memoraNe KSAN.IM the broadcast. The | |||
tour socked its way tau over the nest month. climaxing in | |||
NCO York City with two sushi% at the Bottom LW. December | |||
13.14th. Than it as back to England for a month of | |||
wadies OS the nest album. | |||
1978: While the beginning of the sear in England found | |||
this than-gent his record label from Stiff owe to Radar with | |||
tin first new sulk toast to 016 in the U.K.. "(1 Don't Want | |||
to Go to) Chelsea)." things pewee-del on a not-dissimilar | |||
course is the Stales. liming vanquished the country onstage | |||
sod via the radio airwaves. My Aim Is True ass the most-mentiarod album of '77 on nay top ten list of the nation's | |||
rock aitict. including the Rollin Some Cites Award as | |||
"Album of the Year.** Cervidadity's "New Anal of the | |||
Year.** and ern Record %orld's ••Intport Album of the | |||
Year." A full-page feature goo on [his is TIME nsagannc | |||
("England's Elm: Gut Emotions") and an historic fast | |||
appearance on NBC's "Saturday Night lac" (the hithest-rated shoo in their thenbitowy) brought him in (tont of | |||
laerally millions of fans. | |||
The second leg of EMS' first Noeth Amok:an tour took | |||
him *cross the Country once again, (torn late-January (bait-(*•back dates at the Armadillo in Austin. Texas. and the CBS | |||
Records Convention in Ne*Orleans the nett night) through | |||
the first aria of March Ono nights at El Mccambo in | |||
Toronto). The stage was set for the release of his second | |||
album. This Vest's Model. produced by Nick Lon. The | |||
album's appearance also marked the opening of another major | |||
U.S. tour (sharing the bill with Rockink and Mink DeVilk). | |||
stating in the Midwest that Aped, waking its way back and | |||
Conk moss the U.S. again. and dimming at San Francisco's | |||
%Intense& on June 7th. During the tow's final week in | |||
California this headlined three high school concerto the Last | |||
which an dubbed "The Extravatanta of Emit'sa:ano►" | |||
at Hollywood High. reseeded foe posterity, | |||
In England, Ilsit Yeses Model entered the album than at | |||
/4 and umed in the tOp 50 for foot months After less than a | |||
famish' off the road. Elva' touring scheduk picked up sloth | |||
a European trip the Litt to weeks on lune. Tlie remainder of | |||
the yea. except for two months of wonting for the next | |||
album (September-October). combined a hook worldwide | |||
touring schedule with more sink rekases. culminating in | |||
December with seven sok•out nights at the Dominion Theater | |||
in London | |||
1979: The )ell titian with the release of EMS' thud album. | |||
Armed Forces in the tau oak of Jaiivary, which charted at | |||
12 en England and was entrenched in the upper echelons for | |||
snen months on the strength of the hugely successful (12 | |||
U.K.) untie. "Ohwes Army." The new retold dyes | |||
breathless admiration from the media and Ehis did a 31-elate | |||
Beitith tour in support. | |||
Elvis was back in the U.S. the tint week of February to | |||
Open his third tow. and the St. Valentine's Day spiral was | |||
Nand on a delicious peony* single of "My Funny Valentine' | |||
trocc000ry unreleased) boa "(What's So Funny 'bout) Peace. | |||
Low aad Understanding." the old Krinsky Salaam nascent | |||
nines by Elvis' peoduca Nick Lon (from Armed Forces). | |||
Two oaks law came the new single, Armed Fon& °paling | |||
track of "Accidents Will Happen " The l.: S. tour played an | |||
Alston. night in New York City as April's Fool's | |||
Day/Sunday. as Lisa ripped through sets at Great | |||
filderskeves. the Lone Star Cafe. and the Bottom I me — the | |||
first amid last time anyone did that; too oaken& tater the | |||
tout dosed. the last tune this would pia) on U S. toil for 21 | |||
months. | |||
His debut as a record producer (the Specials' first LP foe | |||
Too-Tone). and the breakdown of Radar as a label fined out | |||
the rest of the year 'nd 'used the way. at the beg:anis* of a | |||
nes decade. for a now and exciting phase of ha career. | |||
1980: Determined to retain personal invohernent and mote | |||
control over hn recordist circa. after a series of frustrating | |||
koal *tangles. F-Beat Records was formed in Estland. His | |||
first new single for the label was the old Sam & Dase number. | |||
"I Can't Stand L'p foe Falling Dolan." ohkh extended his | |||
Consisam record of chart sworn. reaching N. The album | |||
whence it came. Get Happy, his fourth I P. produced by Nick | |||
Lose in Hollsocl. featured an unprecedented It new | |||
compositions by this. plus the Sam & Disc track. and the | |||
Mersobeats' "I Stand Accused " 20 songs in all on asst IP! | |||
For awhile that year there oat a slight ktorp in the amount | |||
of time spent on the road. but this &Bossed hn iongonting to | |||
became nen more ssiderangInt and prolific. The immediate | |||
result of this was samba album in the same )(sat. Tokio: | |||
Liberties, his fifth I.P. Once again, that sine 20 songs | |||
&tatted on the disc, "unattested masters, rate B--auks, | |||
English Album cuts and collectors sterns" (as the liner notes | |||
summarized). Among these were IS of (his' compovisons. | |||
phis 'lily Funny Valentine' and the single of Van McCoy's | |||
"Getting Mighty Crowded." Elvis produced nearly half the | |||
cuts hien►elf for the first time; the remainder acre again | |||
produced by Nick Lon. | |||
11$1: this return to the touring CarCUte in North Amerca | |||
began back up in the Pacific Sionhaeu the first unites of | |||
January. Inc weeks with Scrota that coticluded bet Toronto's | |||
Staple Leaf Gardens. Underscoeing the tour was the release of | |||
An sisth album. Trani with fourteen now compoutions | |||
produced by Nick Lowe. Included uas an interesting disci with | |||
Glenn Tab:look of Squaws. "From a Whisper to a Scream": | |||
and the sink. "Watt% Your Step " Elvis' appearance on the | |||
odd Torn Sat late-night show during the tour was a% commemorated with an imavitai disc that documented their tecosmt a. | |||
Then somewhat surprisingly and cameosmany. there an a | |||
change. Om had atoms been interested in and fond of | |||
country music: George loses especially has long Wen one of | |||
his favorite sontariters. Eves back in 1979. bed slip the | |||
oixasiorsal country sons into his repertoire, foe example. the | |||
chitlins lack Ripley song. "Psycho." So la Ma). 1931. OM | |||
Costello and the Atumuons descended upon country nonic's | |||
moxa of Nashstlk and. with the help of lead and pedal steel | |||
guitarist John Skin (Wanes). nude the now letendar)' | |||
album Almost Blot. The LP (Elm* seventh) was produced to | |||
Billy Sherrill, a character 'oho. as mods as anyone. has | |||
profoundly influenced the course of modern country musk | |||
and contained a colkotion of standardsand personal favorites | |||
to which Ehis gist his on unique and sympathetic | |||
interpretations. | |||
Such a bold and unorthodox teuure could base backfired | |||
disastrously. but in fact the opposite happened. It was both a | |||
resounding critical and commercial success in England. treated | |||
with the same respect with which it en made. It proved once | |||
and foe all that this vim cepabk of imago-cling a range of | |||
musical styles unmatched by any of ha contemporaries. Two | |||
sinks are released in the U.K. from the album. "A Good | |||
Year For the Rents" (also issued in the U.S.) .hutch reach 06 | |||
oo the chart. and Don Gibson's "Swett Dreams." In this | |||
country. thy% supported the new tecorCI with a brief woes of | |||
dates at star's end. the 1 o► Angeles Spout Arena. New | |||
Year's Est at the Palladium iii Nevi Yak. and Nashville's | |||
Tcrinesse Theater three nights later. | |||
1982: Some sort of peak was achieved on January 7th, when Elvis Costello and the Attractions combined forces with the might of the 92-piece Royal Philharmonic Orchestra to deliver a memorable and moving concert at London's Royal Albert Hall, with arrangements by Robert Kirby. Elvis, and band, and the orchestra sailed through a selection of material that spanned Elvis' entire career. enstxt►shins songs like | |||
"Alison" and "Watching the Mtn:tars" o►th a sense of | |||
drama and pout that took the breath nay. Of course there | |||
as a fair amount of time gives over to the country material | |||
as well, and there again the arrantements added to their | |||
poonano and emotional impact. | |||
A mlaoo of "I'm Your TOY." rtmeded as the concert with | |||
the orchestra, was released as a sink in England, and that in | |||
effect marked the end of Ehis touistry music "project." It | |||
has not been. contrary to some peoples •linformed.. °p awn. | |||
a parturient chair of style. merely a ronent aad nOrthuh►e | |||
attempt to make the son of reined he'd always wasted to make. | |||
Bons a songwriter for *which the toed l.pcoerK. could have | |||
ban stYlised. Ehis had bete composing furiously throughout | |||
almost the entire peeled of time shin Almost Blue was | |||
rehearsed and recorded. He therefore hail a sizeable backlog | |||
of material from which to assemble the next album and in the | |||
going of 1932, began work in earnest on his eighth album | |||
Imperial Bedroom. | |||
The eser•present and irreplscrabk Attractions provided | |||
backup for a set of fifteen new compositions (including one | |||
ccoariter with Chris Difford of Squeeze) as this evicted ries | |||
stem as both a socalist and %alliance/. task* is tic-chaps | |||
his most coheriuse work Iodate. The mood sad tempo are as | |||
%stied as the melodies; and the *AUKS:C. magnetise Sent | |||
Now achotratIons and the entire act& from the colorful. | |||
surrealism cover illustration to the "Man Ow of Time" singk | |||
and the epic "Town Oyer." all contributed to a further | |||
simpressive chapter in the Etors Count° story. | |||
The unusual and almost obligatory spate of extensor | |||
tounag followed the June release of Imperial Bedrooms. The | |||
North American itinerary started in Cahforma in mid-luty, | |||
worked its *ay through the Southwest and Sfidssest. up into | |||
Canada. and then doss n the East Coast wrapping up in | |||
Honda after eight weeks out. The British tour culmiaued in | |||
two highly-acclaimed and successful gigs at the Royal Albert | |||
Hall tort the Christmas period. | |||
19113: Eser the musk aficionado. (his has retained his | |||
interest and enthusiasm for anything new and good, and to | |||
that end has produced material foe up-and-coming Scottish | |||
group the Bluebells. Another notatac collaboration in the | |||
recent past has resulted in one of the best (and certainly most | |||
respected) unties of merit times. namely "Shipbuilding" by | |||
Robert Wyatt. Elvis wrote the mernixabk needs and flit | |||
Langer NICKe the music, bah with Wyatt in mind. and the | |||
(gnashed work was as poignant and articulate an observation | |||
on the far-reaching effects of a modern day crusade like the | |||
Falklands was as one could ever elliCit from an other•ise | |||
'non-literary' art form. | |||
Nkanal►le, this had onitten. and with the Attractions. | |||
rehearsed and recorded his mu album. One track in | |||
particular. "Pills and Soap." bore special relevance to the | |||
general election is the springtime. It was decided that. ies | |||
order to give the song's Message the attention deserved. | |||
should intenediately be released as a single — sot•sithuanding | |||
the fact that F-Best's licensing agreement with WF.A Records | |||
in England had concluded some tune before. and netotia►ons | |||
bah almost nay mayor roved company had not yet rcwhed | |||
in a new agreement. So 'Pills and Soap' by The Imposter ass | |||
issued on the undependast Demon Records. and then further | |||
notoriety as a result of an extravagant Occasion by the | |||
directors of Demon to dekte the sink on Election Day. | |||
thereby insuring its place in the annals of rock and music | |||
marketing history | |||
Shortly thereafter a new hi:eosins agreement ass reached | |||
between I •Beat and RCA Records isoiklwide. taCtudints | |||
Scandinavia. and the U.S./Canada, *here Ehis rtra►ialt on | |||
Columbia Records. The first release in England was the Weed | |||
new single. "Everyday I Write the Book." Elvis Costello aid | |||
the Attractions' new album is ''Punch The Clock''. | |||
produced by the highly successful team of Clive Langer and | |||
Alan Winstanky (Madness' "Our House" and Dexy's | |||
Nlidnitld Runners being their most current credits). The LP | |||
contains (his' own versiOn of "Simpbuildtain (with trumpet | |||
solo by Chet Baker) and a 're-modelled' mum of —pans and | |||
Soap." Like; a of Elvis records it is an album of may | |||
moods, intricate subdeties. and great authority. If anything it | |||
is more immediately acectUblt than its predeasson, utilizing | |||
the Wash poser of the T)(0 Horns. the pee-sisals backup | |||
words of the duo known as Afrodinak, and the string | |||
arrangement of David Bedford. | |||
But ''Punch The Clock'' also has its moments of soul-searching introspection and incisive objectivity. One should never underestimate Elvis' ability to write a good tune almost effortlessly. Listen to "The Invisible Man" for an inspired example of the work of a remarkable songwriter. At a time when there seem to be fewer truly interesting or worthwhile lyricists than ever, Elvis Costello remains virtually untouchable. | |||
{{cx}} | |||
[[image:Spacer.jpg|840px|center|link=]] | [[image:Spacer.jpg|840px|center|link=]] | ||
Line 33: | Line 323: | ||
[[Category:Concert programs| 1984-08-24 Rochester Hills]] | [[Category:Concert programs| 1984-08-24 Rochester Hills]] | ||
[[Category:1984 US Tour|~]] | [[Category:1984 US Tour|~]] | ||
[[Category:Transcription needed]] |
Revision as of 02:58, 5 April 2020
|