Columbia Daily Spectator, September 16, 1982: Difference between revisions
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{{Bibliography header}} | {{Bibliography header}} | ||
{{Bibliography index}} | {{:Bibliography index}} | ||
{{:Columbia Daily Spectator index}} | {{:Columbia Daily Spectator index}} | ||
{{: | {{:New York publications index}} | ||
{{:US publications by state index}} | |||
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<center><h3> Why Elvis is the attraction </h3></center> | <center><h3> Why Elvis is the attraction </h3></center> | ||
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Although he doesn't have a good voice, he uses his somewhat adenoidal baritone with more subtlety and control than many who do. His vocal range is limited, but his emotional range is not, and his singing has a sincerity and intensity that is unequaled by any of his contemporaries in popular music. In this respect he reminds me of (and I am aware of the overwhelming irony of this comparison) Ray Charles. | Although he doesn't have a good voice, he uses his somewhat adenoidal baritone with more subtlety and control than many who do. His vocal range is limited, but his emotional range is not, and his singing has a sincerity and intensity that is unequaled by any of his contemporaries in popular music. In this respect he reminds me of (and I am aware of the overwhelming irony of this comparison) Ray Charles. | ||
The paradox of his calling this man whom he emulates and must greatly admire a "blind jive-ass nigger" or whatever he said; nobody's quite sure) say a lot about Costello; it shows that when he said it during a drunken brawl nearly four years ago he couldn't have liked himself very much. He's worked hard to overcome the effects of that remark, partly in a series of cloyingly apologetic interviews, but more meaningfully through his songs (which is how a singer best expresses himself anyway). His ''Get Happy!'' album was a conscious nod to Motown, and interestingly, almost all the songs he did at his New York shows, apart from his own material, were by black artists: a couple of old blues numbers, the O'Jay's "Backstabbers," Smokey Robinson's "Head to Toe." He obviously enjoyed doing them and the audience seemed to enjoy them too; the man likes himself better now. | The paradox of his calling this man whom he emulates and must greatly admire a "blind jive-ass nigger" or whatever he said; nobody's quite sure) say a lot about Costello; it shows that when he said it during a drunken brawl nearly four years ago he couldn't have liked ''himself'' very much. He's worked hard to overcome the effects of that remark, partly in a series of cloyingly apologetic interviews, but more meaningfully through his songs (which is how a singer best expresses himself anyway). His ''Get Happy!'' album was a conscious nod to Motown, and interestingly, almost all the songs he did at his New York shows, apart from his own material, were by black artists: a couple of old blues numbers, the O'Jay's "Backstabbers," Smokey Robinson's "Head to Toe." He obviously enjoyed doing them and the audience seemed to enjoy them too; the man likes himself better now. | ||
Because he likes himself better, some of the edge in his music may have been lost. We will probably never hear him snarl "(One of these day's I'm gonna) Pay it Back" quite the same way again — for now he has paid his dues, and been well paid for it. But something of the old Elvis remains, as anyone who heard him sing "Man Out of Time" must be convinced — there's enough venom in that song to satisfy any reasonably normal person. | Because he likes himself better, some of the edge in his music may have been lost. We will probably never hear him snarl "(One of these day's I'm gonna) Pay it Back" quite the same way again — for now he has paid his dues, and been well paid for it. But something of the old Elvis remains, as anyone who heard him sing "Man Out of Time" must be convinced — there's enough venom in that song to satisfy any reasonably normal person. | ||
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<br><small>Clipping.</small> | <br><small>Clipping.</small> | ||
<small> | <small>Photos by [[Ed Keating]].</small><br> | ||
[[image:1982-09-16 Columbia Daily Spectator Broadway photo 01 ek.jpg|360px|border]] | [[image:1982-09-16 Columbia Daily Spectator Broadway photo 01 ek.jpg|360px|border]] | ||
[[image:1982-09-16 Columbia Daily Spectator Broadway page 01.jpg|360px|border]] | |||
<br><small>Section front.</small> | |||
[[image:1982-09-16 Columbia Daily Spectator Broadway photo 02 ek.jpg|360px|border]] | |||
<br><small>Photo by [[Ed Keating]].</small> | |||
[[image:1982-09-16 Columbia Daily Spectator Broadway page 10 clipping 01.jpg|360px|border]] | |||
<br><small>Clipping.</small> | |||
[[image:1982-09-16 Columbia Daily Spectator Broadway page 04.jpg|x120px]] | [[image:1982-09-16 Columbia Daily Spectator Broadway page 04.jpg|x120px]] | ||
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[[Category:Newspaper articles]] | [[Category:Newspaper articles]] | ||
[[Category:1982 concert reviews]] | [[Category:1982 concert reviews]] | ||
[[Category:1982 US Tour| Columbia Daily Spectator 1982-09-16]] | [[Category:1982 US Tour|~Columbia Daily Spectator 1982-09-16]] |
Latest revision as of 14:47, 24 May 2017
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