London Daily Mail, July 7, 1991: Difference between revisions
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Sam Phillips has four or five pleasing songs in a light rock vein with emotionally charred vocals. But her main claim to fame is that she is the nearest thing rock has produced to Lauren Bacall: shoulder-length blonde hair with a pencil-thin skirt to the lower calf and a tendency to make men whistle. | Sam Phillips has four or five pleasing songs in a light rock vein with emotionally charred vocals. But her main claim to fame is that she is the nearest thing rock has produced to Lauren Bacall: shoulder-length blonde hair with a pencil-thin skirt to the lower calf and a tendency to make men whistle. | ||
Elvis Costello has much going for him, but he bears no resemblance to Lauren Bacall. Hair pours from the upper levels of his body and it is only the siting of the spectacles that provides some clue to physiognomy. Contrary to popular imagination, he is a very big man. The contrast with his runty 1977 prototype is complete Perhaps it is in the nature of all. Elvises to swell. | Elvis Costello has much going for him, but he bears no resemblance to Lauren Bacall. Hair pours from the upper levels of his body and it is only the siting of the spectacles that provides some clue to physiognomy. Contrary to popular imagination, he is a very big man. The contrast with his runty 1977 prototype is complete Perhaps it is in the nature of all. Elvises to swell. | ||
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The musical highlight of the show is, oddly, a cover version: Mose Allison's sharply titled "Everybody's Crying Mercy And They Don't Know The Meaning Of The Word." Larry Knechtel's classic Hammond/<wbr>Leslie keyboard sound and Marc Ribot's guitar combine to chilly effect. But the main meat is a double helping of social commentary for which the man is famed. In the notorious anti-Thatcher rant, "Tramp The Dirt Down." Costello threw in new verses excoriating Major and his classless society and ending with a proposal to arrest the Queen Mother. In the stalls, they glinted and roared. | The musical highlight of the show is, oddly, a cover version: Mose Allison's sharply titled "Everybody's Crying Mercy And They Don't Know The Meaning Of The Word." Larry Knechtel's classic Hammond/<wbr>Leslie keyboard sound and Marc Ribot's guitar combine to chilly effect. But the main meat is a double helping of social commentary for which the man is famed. In the notorious anti-Thatcher rant, "Tramp The Dirt Down." Costello threw in new verses excoriating Major and his classless society and ending with a proposal to arrest the Queen Mother. In the stalls, they glinted and roared. | ||
Then, in "God's Comic," the singer summoned up an image of God as an absinthe-fuddled dreamer furious with the human race for the mess it has made of its purpose-built, luxury world. | Then, in "God's Comic," the singer summoned up an image of God as an absinthe-fuddled dreamer furious with the human race for the mess it has made of its purpose-built, luxury world. | ||
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[[image:1991-07-07 London Daily Mail clipping 01.jpg|380px]] | [[image:1991-07-07 London Daily Mail clipping 01.jpg|380px]] | ||
<br><small>Clipping.</small> | |||
[[image:1991-07-07 London Daily Mail photo 01 ch.jpg|380px]] | |||
<br><small>Photo by [[Craig Hibbert]].</small> | <br><small>Photo by [[Craig Hibbert]].</small> | ||
Latest revision as of 01:50, 17 February 2022
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