Los Angeles Times, September 20, 1983: Difference between revisions
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But once again, the verdict Sunday night at the Universal Amphitheatre was overwhelmingly positive for Costello, who received a vigorous standing ovation at the end of his nearly two-hour set. | But once again, the verdict Sunday night at the Universal Amphitheatre was overwhelmingly positive for Costello, who received a vigorous standing ovation at the end of his nearly two-hour set. | ||
As much as any major rock performer since Bob Dylan, Costello refuses to be a pawn in the pop game | As much as any major rock performer since Bob Dylan, Costello refuses to be a pawn in the pop game. | ||
The British rock figure, who ends a series of Southern California shows [[Concert 1983-09-22 Irvine|Thursday]] night at the Irvine Meadows Amphitheatre, changes styles and emphasis so often that he confuses even his most devoted fans. But he rarely betrays his art. | |||
Costello, whose lyrics abound with commentary on personal and social concerns, was on the offensive at the | Again like Dylan, Costello makes mistakes in his almost obsessive campaign to keep his music ''fresh''. But the highlights of Sunday's frequently captivating concert reminded us that Costello is one of the few contemporary artists who is adding to rock's legacy rather than simply feeding off it. | ||
Costello, whose lyrics abound with commentary on personal and social concerns, was on the offensive at the amphitheatre. | |||
Augmenting his three-piece Attractions band with four horn players and two female backup singers, Costello also employed a light show so flashy that it seemed like high-beam headlights were pointed your way much of the night. He opened with "Let Them All Talk," a spunky expression of "we'll show them." | Augmenting his three-piece Attractions band with four horn players and two female backup singers, Costello also employed a light show so flashy that it seemed like high-beam headlights were pointed your way much of the night. He opened with "Let Them All Talk," a spunky expression of "we'll show them." | ||
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Costello continues to gain urgency and character as a vocalist, establishing an almost chilling intensity in songs like "Clowntime Is Over," a statement of personal rededication, and a disarming tenderness on the socially conscious "Shipbuilding." | Costello continues to gain urgency and character as a vocalist, establishing an almost chilling intensity in songs like "Clowntime Is Over," a statement of personal rededication, and a disarming tenderness on the socially conscious "Shipbuilding." | ||
During a time when the success of dance-synthesizer records has focused attention on sounds in rock, Costello's show carried a bonus. It reminded us that good songs are at the heart of pop music. More than anyone in rock since Dylan, Costello has kept that heartbeat alive. | During a time when the success of dance-synthesizer records has focused attention on ''sounds'' in rock, Costello's show carried a bonus. It reminded us that good ''songs'' are at the heart of pop music. More than anyone in rock since Dylan, Costello has kept that heartbeat alive. | ||
Opening for Costello on this tour is | Opening for Costello on this tour is Aztec Camera, which features another songwriter of considerable promise: Roddy Frame. He's a 19-year-old Scotsman whose soft-rock songs have a wistful, youthful outlook, but whose imagery and construction exhibit much Squeeze-like maturity and craft. Frame is inexperienced as a performer at this stage. Both his singing and manner seemed hesitant Sunday. With more poise, however, he could emerge as one of the rock's most engaging — and important — new forces. Aztec Camera headlines tonight at Club Lingerie. | ||
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{{tags}}[[Universal Amphitheatre]] {{-}} [[Universal City]] {{-}} [[The Attractions]] {{-}} [[The TKO Horns]] {{-}} [[Afrodiziak]] {{-}} [[Aztec Camera]] {{-}} [[Everyday I Write The Book]] {{-}} [[Bob Dylan]] {{-}} [[Irvine Meadows Amphitheatre]] {{-}} [[Let Them All Talk]] {{-}} [[Motown]] {{-}} [[The Bells]] {{-}} [[The O'Jays]] {{-}} [[Back Stabbers]] {{-}} [[Mystery Dance]] {{-}} [[Alison]] {{-}} [[Kid About It]] {{-}} [[Man Out Of Time]] {{-}} [[Imperial Bedroom]] {{-}} [[Clowntime Is Over]] {{-}} [[Shipbuilding]] | |||
{{cx}} | {{cx}} | ||
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'''Los Angeles Times, Calendar, September 20, 1983 | '''Los Angeles Times, Calendar, September 20, 1983 | ||
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[[Robert Hilburn]] reviews Elvis Costello & [[The Attractions]] with [[The TKO Horns]] and [[Afrodiziak]], Sunday, [[Concert 1983-09-18 Universal City|September 18, 1983]], Universal Amphitheatre, Universal City, | [[Robert Hilburn]] reviews Elvis Costello & [[The Attractions]] with [[The TKO Horns]] and [[Afrodiziak]], Sunday, [[Concert 1983-09-18 Universal City|September 18, 1983]], Universal Amphitheatre, Universal City, California. | ||
{{Bibliography images}} | {{Bibliography images}} | ||
[[image:1983-09-20 Los Angeles Times Calendar page 04 clipping 01.jpg|380px]] | |||
<br><small>Clipping.</small> | |||
<small>Page scan.</small><br> | |||
[[image:1983-09-20 Los Angeles Times Calendar page 04.jpg|x120px|border]] | [[image:1983-09-20 Los Angeles Times Calendar page 04.jpg|x120px|border]] | ||
{{Bibliography notes footer}} | {{Bibliography notes footer}} | ||
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*[http://articles.latimes.com LATimes.com] | *[http://articles.latimes.com LATimes.com] | ||
*[http://en.wikipedia.org/wiki/Los_Angeles_Times Wikipedia: Los Angeles Times] | *[http://en.wikipedia.org/wiki/Los_Angeles_Times Wikipedia: Los Angeles Times] | ||
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Latest revision as of 10:28, 3 March 2020
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