Melody Maker, April 14, 1979: Difference between revisions
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At the Palladium in the first of two shows, Elvis launched into a swelling version of "(What's So Funny 'Bout) Love Peace and Understanding" which bypassed the tongue-in-cheek quality of Nick Lowe's lyrics to express heartfelt concern. | At the Palladium in the first of two shows, Elvis launched into a swelling version of "(What's So Funny 'Bout) Love Peace and Understanding" which bypassed the tongue-in-cheek quality of Nick Lowe's lyrics to express heartfelt concern. | ||
Costello is almost as skilled as Dylan at restructuring his own material. The numbers from ''Armed Forces'' — "Goon Squad," "Two Little | Costello is almost as skilled as Dylan at restructuring his own material. The numbers from ''Armed Forces'' — "Goon Squad," "Two Little Hitlers" and especially "Oliver's Army" — have developed to the point where they are now Elvis's strongest work, though the concert doesn't reach its first climax until "I Don't Want To Go To Chelsea." | ||
The Palladium performance was a triumph of large-scale spectacle. The Attractions, with special kudos to the wall of sound keyboards of Steve Naive, are a seamless backing unit, providing Elvis with flesh sad muscle for his skeleton structures. Costello's wrenching guitar playing, owing no small debt to Voidoid Bob Quine, continues to develop colouration and subtle strength. The band followed its leaders' every rhythmic whim, grinding down to a complete halt, for instance, on "Radio, Radio" when Elvis cleverly decided to match doe audience's lethargy with his own. The tempo continued to crawl until the crowd's enthusiasm literally powered the concert into its feverish climax. | The Palladium performance was a triumph of large-scale spectacle. The Attractions, with special kudos to the wall of sound keyboards of Steve Naive, are a seamless backing unit, providing Elvis with flesh sad muscle for his skeleton structures. Costello's wrenching guitar playing, owing no small debt to Voidoid Bob Quine, continues to develop colouration and subtle strength. The band followed its leaders' every rhythmic whim, grinding down to a complete halt, for instance, on "Radio, Radio" when Elvis cleverly decided to match doe audience's lethargy with his own. The tempo continued to crawl until the crowd's enthusiasm literally powered the concert into its feverish climax. |
Revision as of 00:28, 19 February 2020
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