Melody Maker, March 11, 1978: Difference between revisions
(formatting) |
(formatting +default sorting +update image links) |
||
Line 1: | Line 1: | ||
{{Bibliography header}} | {{Bibliography header}} | ||
{{Bibliography index}} | {{:Bibliography index}} | ||
{{:Melody Maker index}} | {{:Melody Maker index}} | ||
{{: | {{:Magazine index}} | ||
{{Bibliography article header}} | {{Bibliography article header}} | ||
<center><h3>Elvis | <center><h3>Elvis on revenge </h3></center> | ||
---- | ---- | ||
<center> Allan Jones </center> | <center> Allan Jones </center> | ||
Line 13: | Line 13: | ||
While it is true that ''[[My Aim Is True|Aim]]'''s specific themes of revenge, jealousy, infidelity, deceit and betrayal are central to this album's most powerful songs — "[[Lip Service]]," "[[Lipstick Vogue]]" and "[[Living In Paradise]]" — these obsessions are forced even more ruthlessly into the spotlight. And, running parallel to these preoccupations, is the vague paranoia and unease of "[[The Beat]]" and "[[Night Rally]]" which hardens to vicious attack on "[[(I Don't Want To Go To) Chelsea]]," a virulent indictment of the superficialities of style and fashion: ''"Everybody has new orders / Be a good girl, kiss the warders."'' | While it is true that ''[[My Aim Is True|Aim]]'''s specific themes of revenge, jealousy, infidelity, deceit and betrayal are central to this album's most powerful songs — "[[Lip Service]]," "[[Lipstick Vogue]]" and "[[Living In Paradise]]" — these obsessions are forced even more ruthlessly into the spotlight. And, running parallel to these preoccupations, is the vague paranoia and unease of "[[The Beat]]" and "[[Night Rally]]" which hardens to vicious attack on "[[(I Don't Want To Go To) Chelsea]]," a virulent indictment of the superficialities of style and fashion: ''"Everybody has new orders / Be a good girl, kiss the warders."'' | ||
Nick Lowe's production is easily his finest hour, a firm but sympathetic treatment of the songs, and embellishments that are carefully considered. It brings Elvis' sneering vocal into dramatic close-up — his voice throughout has tremendous presence — as | Nick Lowe's production is easily his finest hour, a firm but sympathetic treatment of the songs, and embellishments that are carefully considered. It brings Elvis' sneering vocal into dramatic close-up — his voice throughout has tremendous presence — as the Attractions, with characteristic razorblade cool, slice across the mix. The themes of infidelity and humiliation are pursued with relentless vigour and imagination. "[[Hand In Hand]]" — which has a backward tape fade-in redolent of 10CC and a gorgeously rich and infectious melody — seems to propose love as a criminal conspiracy: (''"Don't ask me to apologise. I won't ask you to forgive me / If I'm gonna go down, you're gonna come with me"''). | ||
The extraordinary "Living In Paradise" is set against a neurotic calypso backdrop, with Elvis phrasing his lyrics with a flippant, disquieting glee. The song unfolds as an epic of suspicion, jealousy and revenge, replete with the kind of dangerous images that elevated "[[I'm Not Angry]]" to such chilling peaks: ''"Later in the evening when the arrangements are made. I'll be at the keyhole outside your bedroom door."'' sings Elvis, voice twitching and kicking over the jerking rhythm. ''"You think that I don't know the boy that you're touching / but I'll be at the video and I will be watching."'' | The extraordinary "Living In Paradise" is set against a neurotic calypso backdrop, with Elvis phrasing his lyrics with a flippant, disquieting glee. The song unfolds as an epic of suspicion, jealousy and revenge, replete with the kind of dangerous images that elevated "[[I'm Not Angry]]" to such chilling peaks: ''"Later in the evening when the arrangements are made. I'll be at the keyhole outside your bedroom door."'' sings Elvis, voice twitching and kicking over the jerking rhythm. ''"You think that I don't know the boy that you're touching / but I'll be at the video and I will be watching."'' | ||
Line 30: | Line 30: | ||
{{cx}} | {{cx}} | ||
{{Bibliography notes header}} | {{Bibliography notes header}} | ||
Line 47: | Line 46: | ||
{{Bibliography images}} | {{Bibliography images}} | ||
[[image:1978-03-11 Melody Maker | [[image:1978-03-11 Melody Maker clipping 1.jpg|x210px|border]] | ||
[[image:1978-03-11 Melody Maker photo 1.jpg|x210px|border]] | |||
[[image:1978-03-11 Melody Maker photo | [[image:1978-03-11 Melody Maker clipping 2.jpg|x210px|border]] | ||
[[image:1978-03-11 Melody Maker clipping | <br><small>Clippings.</small> | ||
<br><small> | |||
{{Bibliography box}} | {{Bibliography box 360}} | ||
<center><h3> Cold For Elvis </h3></center> | <center><h3> Cold For Elvis </h3></center> | ||
---- | ---- | ||
Line 71: | Line 69: | ||
Costello was treated with more familiarity, but it wasn't until 30 or 40 minutes into his set that Elvis finally could not handle playing to a bad oil painting anymore. "This isn't King Lear, you know." he told the crowd of 700 "We're not in the theatre. Now get up!" And the knee-jerks responded. As usual (it seems). Costello played a wholly. different set, in which he not only mixed up the order and selection of songs, but also fiddled with the tempo and vocal arrangements of several of his better recorded numbers | Costello was treated with more familiarity, but it wasn't until 30 or 40 minutes into his set that Elvis finally could not handle playing to a bad oil painting anymore. "This isn't King Lear, you know." he told the crowd of 700 "We're not in the theatre. Now get up!" And the knee-jerks responded. As usual (it seems). Costello played a wholly. different set, in which he not only mixed up the order and selection of songs, but also fiddled with the tempo and vocal arrangements of several of his better recorded numbers | ||
His command of the crowd was evidenced nut by the volume of their response but by the moments of total silence he managed to reach when he hushed the band and just baited the fans with a long, expressionless stare. Stand-out numbers in Costello's set were a slow version of "Less Than Zero," and two new pieces, "You're Not Another Mouth In The Lipstick Vogue," and "This Year's Girl," both rousing rockers. Willie "Loco" Alexander and Elvis Costello are currently in the midst of a middle-American tour. | His command of the crowd was evidenced nut by the volume of their response but by the moments of total silence he managed to reach when he hushed the band and just baited the fans with a long, expressionless stare. Stand-out numbers in Costello's set were a slow version of "Less Than Zero," and two new pieces, "You're Not Another Mouth In The Lipstick Vogue," and "This Year's Girl," both rousing rockers. Willie "Loco" Alexander and Elvis Costello are currently in the midst of a middle-American [[:Category:2nd US Tour|tour]]. | ||
{{cx}} | {{cx}} | ||
{{cx}} | {{cx}} | ||
<br><br> | |||
[[image:1978-03-11 Melody Maker cover.jpg|x120px]] | |||
<br><small>Cover.</small> | |||
{{Bibliography notes footer}} | {{Bibliography notes footer}} | ||
Line 83: | Line 86: | ||
*[http://en.wikipedia.org/wiki/Melody_Maker Wikipedia: Melody Maker] | *[http://en.wikipedia.org/wiki/Melody_Maker Wikipedia: Melody Maker] | ||
{{DEFAULTSORT:Melody Maker 1978-03-11}} | |||
[[Category:Bibliography 1978 | [[Category:Bibliography]] | ||
[[Category:Bibliography 1978]] | |||
[[Category:Melody Maker| Melody Maker 1978-03-11]] | [[Category:Melody Maker| Melody Maker 1978-03-11]] | ||
[[Category:Magazine articles | [[Category:Magazine articles]] | ||
[[Category:Album reviews | [[Category:Album reviews]] | ||
[[Category:This Year's Model reviews | [[Category:This Year's Model reviews]] | ||
[[Category:1978 concert reviews|Melody Maker 1978-03-11]] | [[Category:1978 concert reviews]] | ||
[[Category:2nd US Tour|~Melody Maker 1978-03-11]] |
Revision as of 22:43, 16 May 2014
|