Boston Globe, March 30, 1979: Difference between revisions
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Three of the four new songs (especially "Opportunity" and "B{{nb}}Movie") had an intensity akin to "Pump It Up" from his second album. Another, the aptly-named "High Fidelity" (with a chorus of ''"Can you hear me?"''), was in keeping with the depth of ''Armed Forces''. It started with an eerie synthesizer intro from Steve Naive and worked up to a drowning man's wail from Elvis. | Three of the four new songs (especially "Opportunity" and "B{{nb}}Movie") had an intensity akin to "Pump It Up" from his second album. Another, the aptly-named "High Fidelity" (with a chorus of ''"Can you hear me?"''), was in keeping with the depth of ''Armed Forces''. It started with an eerie synthesizer intro from Steve Naive and worked up to a drowning man's wail from Elvis. | ||
Costello played non-stop, like the Ramones and the Clash in this respect but with considerably more melody, until he paused midway through to acknowledge a near-standing ovation. He came back with the chunky guitar syncopations of "The Beat," then the uncharacteristic ballad "Alison" (which he rarely does anymore since Linda Ronstadt recorded it). | Costello played non-stop, like the Ramones and the Clash in this respect but with considerably more melody, until he paused midway through to acknowledge a near-standing ovation. He came back with the chunky guitar syncopations of "The Beat," then the uncharacteristic ballad "Alison" (which he rarely does anymore since Linda Ronstadt recorded it). His improved pacing was evident when he danced for the first time during "Big Boys" (as good a documentary of teenage angst that I've ever heard), then gave way to a dramatic light-show on "Lipstick Vogue." Harsh white spotlights coming from Pete Thomas' drumkit lent an Emerson Lake & Palmer touch, adding a dimension Costello hasn't had before. Too bad about the racial remarks (are we so jaded to just let them pass?) because this was a levitating show. | ||
His improved pacing was evident when he danced for the first time during "Big Boys" (as good a documentary of teenage angst that I've ever heard), then gave way to a dramatic light-show on "Lipstick Vogue." Harsh white spotlights coming from Pete Thomas' drumkit lent an Emerson Lake & Palmer touch, adding a dimension Costello hasn't had before. Too bad about the racial remarks (are we so jaded to just let them pass?) because this was a levitating show. | |||
The Rubinoos scored as opening act with a genuine feel for teen-market pop without the schmaltz of the Bay City Rollers. Their version of the Beatles' "Please Please Me" was ecstatic, as was their handling of the Seeds' "Pushin' Too Hard." They may be in a time warp, but they're born entertainers. | The Rubinoos scored as opening act with a genuine feel for teen-market pop without the schmaltz of the Bay City Rollers. Their version of the Beatles' "Please Please Me" was ecstatic, as was their handling of the Seeds' "Pushin' Too Hard." They may be in a time warp, but they're born entertainers. | ||
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Latest revision as of 08:14, 25 May 2020
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