Cleveland Scene, December 1, 1977: Difference between revisions
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Elvis is one of the beginning of a generation (being only 22) that grew up on the last of the great radio sounds. Ten years ago, when many of us were in our formative years, the radio was filled with real rock and roll: The Kinks, Who, Stones, Zombies and, yes, even The Beatles. This seems to be where Elvis found his inspiration; he owes more to these bands than to Muddy Waters, Hank Williams or any other of those “roots” musicians whose names people so love to drop just to show thay they know what’s happening. | Elvis is one of the beginning of a generation (being only 22) that grew up on the last of the great radio sounds. Ten years ago, when many of us were in our formative years, the radio was filled with real rock and roll: The Kinks, Who, Stones, Zombies and, yes, even The Beatles. This seems to be where Elvis found his inspiration; he owes more to these bands than to Muddy Waters, Hank Williams or any other of those “roots” musicians whose names people so love to drop just to show thay they know what’s happening. | ||
Elvis himself is very hesitant to talk about his past, except to say that he does indeed have one. He does, however, give some insight into his past in his music, and it looks like he’s done a considerable amount of looking back, even though he is keeping mum. | |||
“I used to be disgusted, now I try to be amused” says he in “Red Shoes,” and that’s a considerable statement relatable to anyone who has spent time being frustrated before finally coming to grips with the futility of it all. But at least he’s not angry anymore, as the song goes. It seems that Elvis tries to rise above all the crap that most people have to wade through on the road to whatever; he’s seen it, and it’s nothing to get worked up over. After all, as he says, “there’s no such thing as an original sin.” It’s been done. | |||
Another of his idiosyncrasies is his refusal to credit anyone on the album except producer Lowe, and even that is on the label inside. “They don’t care; they know who they are,” says Elvis, as he continues to shroud himself in mystery. | |||
Costello, now on his final tour of the States, started in San Francisco with two shows at the [[Whisky a Go Go|Whiskey A Go Go]], where he exposed himself for the first time to the American recording industry and press for some real critical evaluation. | |||
At first, Elvis presents a meek looking figure on stage with short-cropped hair and large horn-rimmed glasses that could become something of a trademark. From the first few chords of the opening “Welcome To The Working Week,” it’s clear that these looks are deceiving. Elvis is in charge from moment one as he sings – no, snarls – and then cracks a sly smile just to let you know that he doesn’t mind you being there. Costello’s music is much colder in person than on record. A semi laid-back number like “Miracle Man” becomes a furious rock and roll song that should send Parker back to schooldays and convert the most ardent Springsteen fan. | |||
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“…Elvis is more of a realist. According to him, romance in pop music has taken a leave of absence.” | |||
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A phenomena that has caught me wondering more than once is the large influence of reggae upon the English new wave. In the ghettos of London, some of the only white records being sold are by the Sex Pistols and The Clash have gone so far as to have Jamaican Lee Perry produce their new album. Elvis too, plays the ganja game, with “Watching The Detectives” and a new song, “Living In Paradise,” that evoke the heaviest West Indian beats quite successfully. They are, in effect, the first “reggae” tunes I could (1) actually understand without the lyrics in front of me, and (2) relate to on a non-Rasta basis. | |||
Elvis himself is capable of tossing out some pretty good guitar licks and, at times, can make the instrument as expressive as his voice. Pantomime is another of Elvis’ tools, using his hands alternately on the guitar and on himself; pointing, scratching and making fists. It’s stuff like this that, no matter how hard you try, just can’t be put on vinyl. He says it’s not rehearsed and that he’s never seen himself perform on tape or film. Well, Elvis, you should, because you’re missing a vital part of the show. Somebody give this guy a Betamax for Christmas. | |||
''MY AIM IS TRUE'' has been out for a while in England. Consequently, Elvis had to develop a new set of songs for his English audience, as well as for his next album. It is on the new tunes that he really shines, and as much as I liked ''MY AIM IS TRUE'', the new one is bound to be an absolute killer. | |||
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Revision as of 18:34, 2 February 2017
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