Chicago Tribune, May 30, 1994: Difference between revisions
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But once Costello and the Attractions were the music. Now they offer a perfect copy of it. A line like ''"I want to bite the hand that feeds me"'' from "Radio, Radio" sounded like something an angry young man would say about the record business in 1977. Now it sounds like nostalgia at best, hypocrisy at worst — business can't be all bad when you can charge $40 a ticket, as Costello did Saturday. | But once Costello and the Attractions were the music. Now they offer a perfect copy of it. A line like ''"I want to bite the hand that feeds me"'' from "Radio, Radio" sounded like something an angry young man would say about the record business in 1977. Now it sounds like nostalgia at best, hypocrisy at worst — business can't be all bad when you can charge $40 a ticket, as Costello did Saturday. | ||
Undeniably, there was a certain thrill in watching the quartet shred through two hours of music, after seven sometimes acrimonious years apart. If anything, they're playing better than ever. Off with the crack of Pete Thomas' snare drum, the furious opening combination of "No Action," "High Fidelity" and "The Beat" was followed by a new song, "Pony | Undeniably, there was a certain thrill in watching the quartet shred through two hours of music, after seven sometimes acrimonious years apart. If anything, they're playing better than ever. Off with the crack of Pete Thomas' snare drum, the furious opening combination of "No Action," "High Fidelity" and "The Beat" was followed by a new song, "Pony St.," then a staggering exercise in emotional vertigo, "Beyond Belief." | ||
Bruce Thomas' bass trolled just beneath the surface, searching for a break in the anxious whirlpool conjured up by Steve Nieve's keyboards. Then Costello's guitar, every bit as crude as his lyrics are elaborate, swooped in with all the delicacy of a kamikaze. | Bruce Thomas' bass trolled just beneath the surface, searching for a break in the anxious whirlpool conjured up by Steve Nieve's keyboards. Then Costello's guitar, every bit as crude as his lyrics are elaborate, swooped in with all the delicacy of a kamikaze. | ||
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And what the audience got was baroque popcraft of unusual sophistication and energy, a well-played greatest-hits revue-and nothing more. Maybe that's enough. But anyone who saw Costello when these songs seemed like fresh wounds couldn't help but recognize how emotionally hollow they seem now. | And what the audience got was baroque popcraft of unusual sophistication and energy, a well-played greatest-hits revue-and nothing more. Maybe that's enough. But anyone who saw Costello when these songs seemed like fresh wounds couldn't help but recognize how emotionally hollow they seem now. | ||
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{{tags}}[[Concert 1994-05-28 Tinley Park|World Music Theatre]] {{-}} [[Tinley Park]] {{-}} [[IL|Illinois]] {{-}} [[The Attractions]] {{-}} [[All The Rage]] {{-}} [[Bob Dylan]] {{-}} [[Radio, Radio]] {{-}} [[Pete Thomas]] {{-}} [[No Action]] {{-}} [[High Fidelity]] {{-}} [[The Beat]] {{-}} [[Pony St.]] {{-}} [[Beyond Belief]] {{-}} [[Bruce Thomas]] {{-}} [[Steve Nieve]] {{-}} [[Alison]] {{-}} [[New Lace Sleeves]] | |||
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{{Bibliography images}} | {{Bibliography images}} | ||
[[image:1994-05-30 Chicago Tribune clipping 01.jpg|380px]] | [[image:1994-05-30 Chicago Tribune page 1-12 clipping 01.jpg|380px]] | ||
<br><small>Clipping.</small> | <br><small>Clipping.</small> | ||
<small>Photo by [[Kevin Tanaka]].</small><br> | |||
[[image:1994-05-30 Chicago Tribune photo 01 kt.jpg|380px]] | |||
<small>Page scan.</small><br> | |||
[[image:1994-05-30 Chicago Tribune page 1-12.jpg|x120px]] | |||
{{Bibliography notes footer}} | {{Bibliography notes footer}} |
Revision as of 18:08, 7 February 2022
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