Melody Maker, April 4, 1981: Difference between revisions
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{{:Bibliography index}} | {{:Bibliography index}} | ||
{{:Melody Maker index}} | {{:Melody Maker index}} | ||
{{Bibliography article header}} | {{Bibliography article header}} | ||
<center><h3> Visible shivers </h3></center> | <center><h3> Visible shivers </h3></center> | ||
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<center> Adam Sweeting </center> | <center> Adam Sweeting </center> | ||
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'''Elvis Costello And The Attractions <br> | |||
Hammersmith Odeon, London | |||
{{Bibliography text}} | {{Bibliography text}} | ||
The art of performance... warning bells ring in anticipation, security men bounce a few people out of the wrong seats, elderly British beat music twangs over the PA. | The art of performance... warning bells ring in anticipation, security men bounce a few people out of the wrong seats, elderly British beat music twangs over the PA. | ||
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And yet, though he gave so much, Costello remained elusive, ambiguous as his own metaphors, using his music as a starting point to create compelling dimensions of mood and atmosphere. | And yet, though he gave so much, Costello remained elusive, ambiguous as his own metaphors, using his music as a starting point to create compelling dimensions of mood and atmosphere. | ||
It's easy to forget how many great songs he's written. Here, "Oliver's Army" was brutal and pumping. In "Strict Time," Pete Thomas's gloriously pounding percussion set up Elvis | It's easy to forget how many great songs he's written. Here, "Oliver's Army" was brutal and pumping. In "Strict Time," Pete Thomas's gloriously pounding percussion set up Elvis' vocal assault, while Nieve finished it off with clanging keyboards. "Temptation" has Stax stamped on it, but scratch away the label and underneath there's something much more fraught and questioning. "Radio, Radio" was incandescent. | ||
The Attractions' easy mastery of styles, from the urgent funk of "Watching The Detectives" to the gloves-off aggression of "Clubland," lets Costello stand apart from his songs even while he's the core of the performance. | The Attractions' easy mastery of styles, from the urgent funk of "Watching The Detectives" to the gloves-off aggression of "Clubland," lets Costello stand apart from his songs even while he's the core of the performance. | ||
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In "Clowntime Is Over," Nieve's organ swirled and sucked soulfully while Elvis, marooned in a green spotlight, punched the air dramatically, every inch the performer. Songs that can seem subdued on record were brought miraculously into full-bodied close-up. | In "Clowntime Is Over," Nieve's organ swirled and sucked soulfully while Elvis, marooned in a green spotlight, punched the air dramatically, every inch the performer. Songs that can seem subdued on record were brought miraculously into full-bodied close-up. | ||
He's mastered the tricky art of ballad singing too. In the slow-moving blues of "I'll Take Good Care Of You," ragged piano and hard percussion gave him room to feel his way through the lyrics as if for the first time, discovering shades of meaning as he went. | He's mastered the tricky art of ballad singing too. In the slow-moving blues of "I'll Take <!-- Good --> Care Of You," ragged piano and hard percussion gave him room to feel his way through the lyrics as if for the first time, discovering shades of meaning as he went. | ||
He signed off finally with a rampaging "I Can't Stand Up." ''"I tasted the bitterness of my own tears,"'' he snarled, hacking through the tangling nets of emotion with music of electric ferocity. And he nonchalantly threw in a quote from Wilson | He signed off finally with a rampaging "I Can't Stand Up." ''"I{{nb}}tasted the bitterness of my own tears,"'' he snarled, hacking through the tangling nets of emotion with music of electric ferocity. And he nonchalantly threw in a quote from Wilson Pickett's "634-5789" — just the title — just to remind us this richness didn't grow out of nothing. | ||
As the house lights came up, the Shadows' "Wonderful Land" rippled through the speakers. It was a timeless evening. | As the house lights came up, the Shadows' "Wonderful Land" rippled through the speakers. It was a timeless evening. | ||
{{cx}} | |||
{{tags}}[[Concert 1981-03-27 London|Hammersmith Odeon]] {{-}} [[London]] {{-}} [[The Attractions]] {{-}} [[Steve Nieve]] {{-}} [[Shot With His Own Gun]] {{-}} [[Pump It Up]] {{-}} [[Oliver's Army]] {{-}} [[Pete Thomas]] {{-}} [[Strict Time]] {{-}} [[Temptation]] {{-}} [[Stax]] {{-}} [[Radio, Radio]] {{-}} [[Watching The Detectives]] {{-}} [[Clubland]] {{-}} [[Clowntime Is Over]] {{-}} [[I'll Take Care Of You]] {{-}} [[I Can't Stand Up For Falling Down]] {{-}} [[Wilson Pickett]] {{-}} [[634-5789 (Soulsville, U.S.A.)]] | |||
{{cx}} | {{cx}} | ||
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{{Bibliography images}} | {{Bibliography images}} | ||
[[image:1981-04-04 Melody Maker clipping 01.jpg| | [[image:1981-04-04 Melody Maker page 31 clipping 01.jpg|380px]] | ||
<br><small>Clipping.</small> | <br><small>Clipping.</small> | ||
<small>Photo by [[Tom Sheehan]].</small><br> | <small>Photo by [[Tom Sheehan]].</small><br> | ||
[[image:1981-04-04 Melody Maker photo 01 ts.jpg| | [[image:1981-04-04 Melody Maker photo 01 ts.jpg|300px|border]] | ||
<small>Cover and page scan.</small><br> | |||
[[image:1981-04-04 Melody Maker cover.jpg|x120px]] | [[image:1981-04-04 Melody Maker cover.jpg|x120px]] | ||
[[image:1981-04-04 Melody Maker page 31.jpg|x120px]] | |||
{{Bibliography notes footer}} | {{Bibliography notes footer}} | ||
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*[http://en.wikipedia.org/wiki/Melody_Maker Wikipedia: Melody Maker] | *[http://en.wikipedia.org/wiki/Melody_Maker Wikipedia: Melody Maker] | ||
*[http://www.flickr.com/photos/41352471@N00/348977042/in/photostream/ Flickr: Nmarie] | *[http://www.flickr.com/photos/41352471@N00/348977042/in/photostream/ Flickr: Nmarie] | ||
*[https://twitter.com/nothingelseon/status/1084955116065542144 Twitter: nothingelseon] | |||
{{DEFAULTSORT:Melody Maker 1981-04-04}} | {{DEFAULTSORT:Melody Maker 1981-04-04}} |
Latest revision as of 22:59, 12 February 2021
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