Melody Maker, July 9, 1983: Difference between revisions
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In this context, "Pills And Soap" was a reassuring return to form; its angry, compassionate intensity restoring to his work a vigour that had recently been worryingly absent, the cute marketing strategy that accompanied its release recalling the guerilla tactics of early Stiff campaigns. | In this context, "Pills And Soap" was a reassuring return to form; its angry, compassionate intensity restoring to his work a vigour that had recently been worryingly absent, the cute marketing strategy that accompanied its release recalling the guerilla tactics of early Stiff campaigns. | ||
No little wonder, then, that his return to Dingwalls was the hottest ticket in town last week. At £12.50 those tickets were hardly a cut-price snip, but what the hell? Six years ago, Costello and the Attractions made their official [[Concert 1977-07-26 London|debut]] here and played the kind of set that engraved itself indelibly upon the imagination. And, after the extravagances of the Albert Hall shows, and the inevitable graduation to concert halls that followed a brief apprenticeship in the clubs and bars, the opportunity of checking out the man and his band in the sort of atmosphere and environment that had originally nurtured their music was obviously irresistible; a potential thrill that surely couldn't be overlooked. | No little wonder, then, that his return to Dingwalls was the hottest ticket in town last week. At £12.50 those tickets were hardly a cut-price snip, but what the hell? Six years ago, Costello and the Attractions made their official [[Concert 1977-07-26 London|debut]] here and played the kind of set that engraved itself indelibly upon the imagination. And, after the extravagances of the Albert Hall [[Concert 1982-12-27 London|shows]], and the inevitable graduation to concert halls that followed a brief apprenticeship in the clubs and bars, the opportunity of checking out the man and his band in the sort of atmosphere and environment that had originally nurtured their music was obviously irresistible; a potential thrill that surely couldn't be overlooked. | ||
The evening rather clambered off the deck with a version of "Let Them All Talk" from the forthcoming ''Punch The Clock'' set. With the TKO Horns pushing and shoving against the Attractions' characteristically pugnacious bounce, the effect was scrappy, confused, ill-defined. A brusque, punchy "Possession" and a sensationally desolate "Secondary Modern" put the set back on the rails, set up the avalanche of horns and percussion (Pete Thomas giving it maximum stick behind the kit) that threatened to lift "The Greatest Thing" (another cut from the new LP) into surreal orbit. | The evening rather clambered off the deck with a version of "Let Them All Talk" from the forthcoming ''Punch The Clock'' set. With the TKO Horns pushing and shoving against the Attractions' characteristically pugnacious bounce, the effect was scrappy, confused, ill-defined. A brusque, punchy "Possession" and a sensationally desolate "Secondary Modern" put the set back on the rails, set up the avalanche of horns and percussion (Pete Thomas giving it maximum stick behind the kit) that threatened to lift "The Greatest Thing" (another cut from the new LP) into surreal orbit. |
Revision as of 02:29, 17 August 2016
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