Discoveries, August 1992: Difference between revisions
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A band is born | A band is born | ||
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Elvis spent the remainder of the year on tour in England, including a special Live Stiffs allstar package that included Nick Lowe, Ian Dury and Wreckless Eric. Elvis' fourth single, "Watching the Detectives" (a new song) reached No. 15 on the charts. | Elvis spent the remainder of the year on tour in England, including a special Live Stiffs allstar package that included Nick Lowe, Ian Dury and Wreckless Eric. Elvis' fourth single, "Watching the Detectives" (a new song) reached No. 15 on the charts. | ||
The singles, the concerts, and the critical acclaim grew. Legend grew of this angry geek singer who played songs to which you could hum and dance. In a review of Elvis' second concert with the Attractions, A Plymouth, England reviewer [[Record Mirror, July 23, 1977|wrote]] of Elvis' second concert, "Elvis looks like a slightly stroppy creep of a school prefect | The singles, the concerts, and the critical acclaim grew. Legend grew of this angry geek singer who played songs to which you could hum and dance. In a review of Elvis' second concert with the Attractions, A Plymouth, England reviewer [[Record Mirror, July 23, 1977|wrote]] of Elvis' second concert, "Elvis looks like a slightly stroppy creep of a school prefect — the type that gets beaten up after school hours. But once on stage, he takes over the minds and the eardrums of the audience without ever resorting to clever tricks or smooth talking between numbers ... He kept flashing up images of what used to be known as rhythm and blues in the days of the Cavern." | ||
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The tour wrapped up with a notorious appearance on ''Saturday Night Live'' that stands today among the great moments in rock and roll broadcast history. The Sex Pistols were supposed to have appeared, but couldn't keep the date. Elvis and company quickly seized the opportunity. Pete Thomas even wore a T-shirt bearing the words "Thanks Malc" (short for Pistols' producer, Malcolm McClaren). | The tour wrapped up with a notorious appearance on ''Saturday Night Live'' that stands today among the great moments in rock and roll broadcast history. The Sex Pistols were supposed to have appeared, but couldn't keep the date. Elvis and company quickly seized the opportunity. Pete Thomas even wore a T-shirt bearing the words "Thanks Malc" (short for Pistols' producer, Malcolm McClaren). | ||
Ever the rebel, Elvis, made the most of this live TV opportunity. The show's producer, Lorne Michaels, wanted them to play the hits. But Elvis had written a song dedicated to lackluster U.S. radio stations | Ever the rebel, Elvis, made the most of this live TV opportunity. The show's producer, Lorne Michaels, wanted them to play the hits. But Elvis had written a song dedicated to lackluster U.S. radio stations — as yet unreleased and unrecorded. Midway through "Less Than Zero," Elvis announced, "I'm sorry ladies and gentlemen, there's no reason to do this song," and launched into a scathing version of "Radio Radio." The situation was outrageous; the camera was on but totally out of control! NBC was furious and promised Elvis would not work again! Elvis knew about taking chances and who was in control. Since that time, he appeared, in the late '80s, on all of NBC's talk shows (''Tom Snyder'', the ''Tonight Show'', ''Late Night With David Letterman'') and ''Saturday Night Live'' several more times. | ||
By year end, ''My Aim Is True'' was on everybody's Top 10. ''Rolling Stone'' [[Rolling Stone, December 29, 1977|named]] it album of the year. ''Record World'' named it import album of the year, and ''Crawdaddy'' named Elvis new artist of the year. ''Time Magazine'' dedicated a full [[Time, December 26, 1977|page]] feature to the new Elvis. | By year end, ''My Aim Is True'' was on everybody's Top 10. ''Rolling Stone'' [[Rolling Stone, December 29, 1977|named]] it album of the year. ''Record World'' named it import album of the year, and ''Crawdaddy'' named Elvis new artist of the year. ''Time Magazine'' dedicated a full [[Time, December 26, 1977|page]] feature to the new Elvis. | ||
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1978 was a very busy year. Yet somehow, amidst all the promos, TV, and worldwide concert appearances, Elvis and the Attractions recorded their next album and released numerous singles. The year wrapped up with seven sold-out nights at London's Dominion Theater (where a now-rare single, "Talking in the Dark"/"Wednesday Week," was given away to concert goers. | 1978 was a very busy year. Yet somehow, amidst all the promos, TV, and worldwide concert appearances, Elvis and the Attractions recorded their next album and released numerous singles. The year wrapped up with seven sold-out nights at London's Dominion Theater (where a now-rare single, "Talking in the Dark"/"Wednesday Week," was given away to concert goers. | ||
January saw the release of ''Armed Forces'', a brand new LP that reached No. 2 in England and stayed on the charts on the strength of its Top 30 single hit, Oliver's Army. ''Armed Forces'' was a charming, yet alarming, slice of pop bile, covering everything from the frightening reemergence of the British Nazi party and escalating militarism to broken love. Originally titled ''Emotional Fascism'', the new LP refined the loose anger of the first two records into a new pop mix. The album delivers songs about love and murder, international politics, apathy, and militarism, all delivered in radio-ready pop formats | January saw the release of ''Armed Forces'', a brand new LP that reached No. 2 in England and stayed on the charts on the strength of its Top 30 single hit, Oliver's Army. ''Armed Forces'' was a charming, yet alarming, slice of pop bile, covering everything from the frightening reemergence of the British Nazi party and escalating militarism to broken love. Originally titled ''Emotional Fascism'', the new LP refined the loose anger of the first two records into a new pop mix. The album delivers songs about love and murder, international politics, apathy, and militarism, all delivered in radio-ready pop formats — music that matters in 3 minutes or less! | ||
Musically, the album is diverse, ranging from the Beatles-type "Oliver's Army" and "Party Girl" (with its blatant ripoff from ''Abbey Road''), to the Euro-tech of "Green Shirt," and the funk light of "Moods for Moderns." | Musically, the album is diverse, ranging from the Beatles-type "Oliver's Army" and "Party Girl" (with its blatant ripoff from ''Abbey Road''), to the Euro-tech of "Green Shirt," and the funk light of "Moods for Moderns." | ||
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The subsequent Armed Funk [[:Category:Armed Funk Tour|tour]] was enthusiastically received despite the album's extreme militaristic theme. | The subsequent Armed Funk [[:Category:Armed Funk Tour|tour]] was enthusiastically received despite the album's extreme militaristic theme. | ||
I was fortunate to have caught the [[Concert 1979-03-30 Passaic|show]] at the Capitol Theater in Passaic, an experience I will never forget and which I have heard was representative of the tour. Picture this Warhol-inspired scenario | I was fortunate to have caught the [[Concert 1979-03-30 Passaic|show]] at the Capitol Theater in Passaic, an experience I will never forget and which I have heard was representative of the tour. Picture this Warhol-inspired scenario — outside the hall waiting on line, tall, buxom women garbed in tight leather outfits were pacing and scoping out the crowd. One bearing a whip took my then-appropriate punk glasses off my face (of course, without asking) proclaiming simply: "mine." I was not about to question! | ||
At first I thought that these were just Passaic locals hanging out, but inside we found more of these vixens with "Armed Forces" stitched into their leathers. Everyone was given two full body searches and was made aware of signs prohibiting photographs. (I later saw a camera smashed to bits by a bouncer.) | At first I thought that these were just Passaic locals hanging out, but inside we found more of these vixens with "Armed Forces" stitched into their leathers. Everyone was given two full body searches and was made aware of signs prohibiting photographs. (I later saw a camera smashed to bits by a bouncer.) | ||
The show was an assault on the senses: fast, furious and without hesitation. It ended in piercing feedback, with a huge spotlight blaring into the crowd. Some people were angry, anticipating material from the LP | The show was an assault on the senses: fast, furious and without hesitation. It ended in piercing feedback, with a huge spotlight blaring into the crowd. Some people were angry, anticipating material from the LP — like Dylan fans a year earlier when Bob radically restructured his arrangements. Others, like me, were exhilarated that finally someone was saying "stand up and do something" at a time when pacifism was the accepted norm. The concert was about an hour long but felt a lot longer. | ||
About this time in New York mysterious posters appeared, announcing Elvis' shows, with April 1 listed as "nowhere." That night, Elvis and the Attractions achieved the near impossible, playing three sets at three clubs (Great Gildersleeves, the Lone Star Cafe and the Bottom Line) in one night! The shows were announced shortly before showtime and each sold out immediately. The tour ended two weeks later and Elvis would not tour the U.S. again for nearly 2 years. | About this time in New York mysterious posters appeared, announcing Elvis' shows, with April 1 listed as "nowhere." That night, Elvis and the Attractions achieved the near impossible, playing three sets at three clubs (Great Gildersleeves, the Lone Star Cafe and the Bottom Line) in one night! The shows were announced shortly before showtime and each sold out immediately. The tour ended two weeks later and Elvis would not tour the U.S. again for nearly 2 years. | ||
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Clowntime is over: Brilliant mistake | Clowntime is over: Brilliant mistake | ||
The end of 1979 saw Elvis splitting off from Radar Records due to a series of frustrating legal wrangles. He formed a new label to rectify the problem | The end of 1979 saw Elvis splitting off from Radar Records due to a series of frustrating legal wrangles. He formed a new label to rectify the problem — F-Beat Records. He also made his debut as producer of the Specials' first LP, on Two Tone. | ||
The 1979 tour, although critically acclaimed and generally appreciated by U.S. audiences had a nasty glitch, possibly the equivalent of John Lennon's much publicized "we're bigger than Jesus" statement. The topic has been widely covered so we won't belabor it here. Quite simply, Elvis got into a drunken brawl with a now Grammy winning female slide guitarist (she punched him out) and the band members of a certain seminal California folk-rocker. Drunk out of his mind, Elvis made some very stupid racial remarks about Ray Charles and James Brown. His statements were well documented by the media and Elvis made a public apology. He had been a headliner in the Rock Against Racism concerts and had produced the Specials' first album, pioneering a multi-racial English Ska band, and had acknowledged the role black music played in his upbringing. But this remark was all the media had to say about his racial attitudes. After the intensity of his Armed Funk tour, and the anti-journalistic attitude of the concerts, Elvis later admitted in ''Rolling Stone'', "I fed myself to the lions." | The 1979 tour, although critically acclaimed and generally appreciated by U.S. audiences had a nasty glitch, possibly the equivalent of John Lennon's much publicized "we're bigger than Jesus" statement. The topic has been widely covered so we won't belabor it here. Quite simply, Elvis got into a drunken brawl with a now Grammy winning female slide guitarist (she punched him out) and the band members of a certain seminal California folk-rocker. Drunk out of his mind, Elvis made some very stupid racial remarks about Ray Charles and James Brown. His statements were well documented by the media and Elvis made a public apology. He had been a headliner in the Rock Against Racism concerts and had produced the Specials' first album, pioneering a multi-racial English Ska band, and had acknowledged the role black music played in his upbringing. But this remark was all the media had to say about his racial attitudes. | ||
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After the intensity of his Armed Funk tour, and the anti-journalistic attitude of the concerts, Elvis later admitted in ''Rolling Stone'', "I fed myself to the lions." | |||
Soul searching | Soul searching | ||
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Pulling back from the frantic pace that had characterized much of his work and life up to this time, the '80s saw Elvis evolving from the Buddy Holly on acid media caricature that had been built up in the press to the ultimately reemergence of Declan MacManus. | Pulling back from the frantic pace that had characterized much of his work and life up to this time, the '80s saw Elvis evolving from the Buddy Holly on acid media caricature that had been built up in the press to the ultimately reemergence of Declan MacManus. | ||
Given Elvis' tenuous position — at both a critical career peak and at an artistic crossroads — Columbia rush-released another LP to try to reclaim some of the sales lost after ''Get Happy!!'' Copying the feeling of ''Get Happy!!'' in concept, ''Taking Liberties'' compiled 20 rare B-sides, U.K. | Given Elvis' tenuous position — at both a critical career peak and at an artistic crossroads — Columbia rush-released another LP to try to reclaim some of the sales lost after ''Get Happy!!'' Copying the feeling of ''Get Happy!!'' in concept, ''Taking Liberties'' compiled 20 rare B-sides, U.K. album tracks, and unreleased alternate takes onto one disc. | ||
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Curiously, the album proved very popular because it contained many concert staples that most newer fans had not been able to get. The album racked up brisk sales as an export item overseas, prompting the release of a similar package (initially released only on cassette in the U.K.) titled ''10 Bloody Marys and 10 How's Your Fathers''. | |||
Elvis' transition from bristling punk popster to critically acclaimed singer/songwriter began in 1981, when Elvis released ''Trust.'' The album was a mix of great work and obvious filler, featuring a guest cameo/duet with Glenn Tillbrook of Squeeze on "From a Whisper to a Scream" and a slightly expanded Attractions, with Martin Belmont (from Graham Parker's band, the Rumor). It was a good album that played well in concert. Costello and Squeeze teamed up for the 1981 English Mugs [[:Category:English Mugs Tour|tour]], well received despite less than staggering album sales. Costello coproduced Squeeze's hit LP ''Eastside Story'' and sang backup vocals on the single, "Tempted." | |||
Elvis' next move was touted as "surprising and controversial" by many. But for anyone who knew his roots and had all his records, it wasn't. Nonetheless, in a move that, in retrospect, did nothing more than show the maturation of an artist, Elvis retreated to Nashville in late 1981 to record an entire album of country and western standards, produced by veteran producer, Billy Sherrill. ''Almost Blue'' is a beautiful, if sad, album, possibly reflecting his somber attitude at the time. | |||
The LP proved conclusively that Elvis had more in mind than being known as a punk pop star. ''Almost Blue'' was Elvis as the Elephant Man, shouting "I am not a freak! I am a man," as he aimed to undo preconceived notions of what he was expected to be as a recording artist. | |||
Elvis made limited appearances to launch the album, easily selling out the Los Angeles Sports Arena, a New Year's Eve show at New York's Palladium, and a landmark show at Nashville's legendary Grand Ol' Opry. Several nights later, Elvis and the Attractions were joined by the Royal Philharmonic Orchestra at London's Royal Albert Hall, performing their repertoire backed by strings. | |||
The album was not heavily promoted or well received in the U.S. Two singles were released in the U.K., including "Good Year for the Roses," which reached No. 6. Many now-rare singles and B-sides came out of this period, including "I'm Your Toy," from the Royal Albert Hall concert. | |||
Striking a royal blow | |||
''Imperial Bedroom'' was technically Elvis' seventh official album of new music, and it is widely considered by many to be his masterwork — his ''Sgt. Pepper'', or his ''Abbey Road''. This was Elvis' exploration in vocals and lyricism, bearing some of his most intricate arrangements and wordplays to date. It was also a time to once again prove himself to the world, a chance to put aside his "angry young punk" image once and for all. | |||
Elvis explored new areas as a songwriter in this album. He had a sizable backlog of material, and the result was staggering. The ''Sgt. Pepper'' comparisons were merited — the production was pulled together by veteran engineer Geoff Emerick, who had worked on the legendary Beatles classic, among many others. | |||
From the opening strums of "Beyond Belief" to the stately close of "Town Crier," ''Imperial Bedroom'' is a complete experience. Elvis set a new benchmark for himself which would be hard to beat. In fact, he would not come close to it critically until about 5 years later. The album marks the first time Elvis included written lyrics, although they run together in an almost indecipherable manner. The supporting tour was magnificent, with the Attractions playing as a tightly oiled unit and Elvis singing his heart out. Critical comments such as "the best concert of the summer" were typical. | |||
Elvis also ended his feud with the press, granting interviews regularly, and appeared on the cover of ''Rolling Stone'' ("Elvis repents," read the headline). Elvis in 1982 was a friendly new face and ''Imperial Bedroom'' confirmed that he would be around for many years to come. The next two LPs, ''Punch the Clock'' and ''Goodbye Cruel World'' are mixed bags. Ironically, the former gave Elvis his first U.S. Top 20 hit with the brilliant "Everyday I Write the Book." The album had some great moments, but paled in comparison with the conceptual continuity of ''Imperial Bedroom''. Both featured an expanded Attractions lineup, including backups for Darryl Hall and the TKO Horns and two female singers recording as Afrodiziak. | |||
The tour was as ambitious as the LP was commercially successful. More unreleased B-sides were issued, plus something new for Elvis, the "dance remix," a concept popular at the time. There is even a dub remix of "Everyday," which features one of the last recorded performances by jazz legend Chet Baker, who turns in a poignant solo on the anti-war tribute, "Shipbuilding." The LP includes the underrated pop ditty, "Love Went Mad," featuring brilliantly idiotic couplets like ''"I wish you luck with a capital F."'' (Elvis says he hates that line!) | |||
''Goodbye Cruel World'' also had its high points, including the politically correct Peace in Our Time, an anti-Reagan anthem, and a popular, but difficult to understand, duet with Darryl Hall, "The Only Flame in Town." Elvis included his revised version of "The Comedians," a song originally intended for Roy Orbison, who was later to record the track with Elvis' original lyrics on his LP, ''Mystery Girl.'' | |||
''Goodbye Cruel World'' contained many great single tracks but the sum of the parts amounted to little — it was good, but not great. Like Dylan and the Beatles before him, even a bad Elvis record was better than most. | |||
Elvis continued to tour with the band, and for the first time included solo sets — a treat for many who had strained to understand Elvis' often confusing couplets. While the live shows failed to achieve the critical peak of his 1982 performances, they were notable for the inclusion of many chestnuts like "So You Want to Be a Rock and Roll Star." | |||
Return of the king | |||
In 1985, Elvis regrouped, toured little, recorded little, and wrote a lot. After a year-and-a-half hiatus, the new Elvis came out swinging, ready to make up for lost time and reconquer lost territory. | |||
His first step was to break down the Costello persona, much as John Lennon did after the Beatles. Like Lennon, Elvis had just remarried an established artist, Cait O'Riordan, bassist from Celtic punk folksters, the Pogues. For the first time, Elvis recorded with back up musicians outside of the Attractions — in fact he recorded two albums in the same year. | |||
''King of America'' features his first official | |||
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Revision as of 07:17, 18 September 2016
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