Mojo, December 1993: Difference between revisions
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{{:Bibliography index}} | {{:Bibliography index}} | ||
{{:Mojo index}} | {{:Mojo index}} | ||
{{: | {{:UK & Ireland magazines index}} | ||
{{Bibliography article header}} | {{Bibliography article header}} | ||
<center><h3> 2½ Years </h3></center> | <center><h3> 2½ Years </h3></center> | ||
<center> '''Elvis Costello & The Attractions </center> | <center>''' Elvis Costello & The Attractions </center> | ||
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<center> Andy Kershaw </center> | <center> Andy Kershaw </center> | ||
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'''My Aim Is True, This Year's Model, Armed Forces, Live At El Mocambo | |||
{{Bibliography text}} | {{Bibliography text}} | ||
Stimulation was in short supply in late-'70s Rochdale. There were no music clubs. Gigs took place when a local progressive band booked itself into Whitworth Civic Hall. | Stimulation was in short supply in late-'70s Rochdale. There were no music clubs. Gigs took place when a local progressive band booked itself into Whitworth Civic Hall. "Going out" was something more confident lads did with disco-dancing trainee typists. To look cool, trainee bohemians needed only to linger at the bus-stop with a Rory Gallagher album tucked inside their great-coats. | ||
For a shy youth with no money or transport, few friends, a heavy Dylan and Loudon Wainwright habit and a bewilderment with most punk ''arrivistes'', you might say I had it rough when I was a lad. There was the Peel programme and ... er ... that was it. We'd stay up all night, ferchrissakes, if they were showing a Spyro Gyra concert on ''Rock Goes To College''. | For a shy youth with no money or transport, few friends, a heavy Dylan and Loudon Wainwright habit and a bewilderment with most punk ''arrivistes'', you might say I had it rough when I was a lad. There was the Peel programme and ... er ... that was it. We'd stay up all night, ferchrissakes, if they were showing a Spyro Gyra concert on ''Rock Goes To College''. | ||
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For five years, Elvis had to face us both, mouthing the words from the front row like a couple of theatre prompters. Our unfamiliarity with newer material could really bugger him up. Woodhead actually subscribed to a Dutch-based newsletter, disturbing in its obsessiveness, called something like Costello Watch. Together, we amassed and circulated an archive of bootlegs that could have caused the BPI a seizure. | For five years, Elvis had to face us both, mouthing the words from the front row like a couple of theatre prompters. Our unfamiliarity with newer material could really bugger him up. Woodhead actually subscribed to a Dutch-based newsletter, disturbing in its obsessiveness, called something like Costello Watch. Together, we amassed and circulated an archive of bootlegs that could have caused the BPI a seizure. | ||
I even appear in a supporting role on one of them. At one of the | I even appear in a supporting role on one of them. At [[Concert 1986-11-29 London|one]] of the "Spin The Wheel" shows at London's Royalty Theatre in November 1986, Elvis relishing a short-lived role as Mr Showbiz, picked members of the audience to dance in a cage at the side of the stage and invited requests from the assembled. "You Win Again, Elvis!", I bellowed from the back. Instantly, he slipped into the Hank Williams lament. "And don't think Andy," he said at the end having recognised my voice from just four words, "that just by shouting that out you're going to get away with not coming up here." The audience rippled at the prospect of such public humiliation. Happily, I was not forced to dance. | ||
This historic encounter on rock's lost highway is not, mysteriously, one of those captured in this box set. We do have some of the Charlie Gillett Honky Tonk demos, but I have my own collection of Elvis encounters. When I recall 'filling' dementedly at Live Aid — interviewing John Hurt for 20 minutes without knowing who he was — because Speccv was late on. I still want to go to the toilet. ("Four eyes, one vision" was the introduction to his singalong "All You Need Is Love"). And later, on the Whistle Test, Elvis snuck up behind me during my long-winded introduction to his set and placed the crown from ''King Of America'' on my head. That night, I was the proudest kid on the planet. | This historic encounter on rock's lost highway is not, mysteriously, one of those captured in this box set. We do have some of the Charlie Gillett Honky Tonk demos, but I have my own collection of Elvis encounters. When I recall 'filling' dementedly at Live Aid — interviewing John Hurt for 20 minutes without knowing who he was — because Speccv was late on. I still want to go to the toilet. ("Four eyes, one vision" was the introduction to his singalong "All You Need Is Love"). And later, on the ''Whistle Test'', Elvis snuck up behind me during my long-winded introduction to his set and placed the crown from ''King Of America'' on my head. That night, I was the proudest kid on the planet. | ||
For the Attractions' last stand, I was there on stage, as DJ, at Glastonbury 1987. I doubt if I'll see as magnificent a performance again. With the stage in darkness, he began with the unaccompanied first line of "Hope You're Happy Now." The Attractions kicked in with the impact of someone tipping an entire dinner service into the sink. The curtains flew back on the beat and every lamp on the lighting rig came on at once in a blinding onslaught of sight and sound. | For the Attractions' last stand, I was there on stage, as DJ, at Glastonbury 1987. I doubt if I'll see as magnificent a performance again. With the stage in darkness, he began with the unaccompanied first line of "Hope You're Happy Now." The Attractions kicked in with the impact of someone tipping an entire dinner service into the sink. The curtains flew back on the beat and every lamp on the lighting rig came on at once in a blinding onslaught of sight and sound. | ||
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Who cares if he helped me flunk my degree? So what if he's not made a decent album since ''King Of America''? Does it matter that he's been defiantly melody-free from ''Spike'' onwards? Hell, he's even strayed into the scoundrel territory of soundtrack album and classical music collaborations. (Come on, when did you last yearn to put on ''The Juliet Letters''?) | Who cares if he helped me flunk my degree? So what if he's not made a decent album since ''King Of America''? Does it matter that he's been defiantly melody-free from ''Spike'' onwards? Hell, he's even strayed into the scoundrel territory of soundtrack album and classical music collaborations. (Come on, when did you last yearn to put on ''The Juliet Letters''?) | ||
The days may be gone when life was marked out by Costello albums. Listening again to this celebration of the finest songwriter of the age engaging triumphantly with its most accomplished band, I feel no betrayal. As Hank Williams put it: I guess that I should not complain. I love you still. You win again." | The days may be gone when life was marked out by Costello albums. Listening again to this celebration of the finest songwriter of the age engaging triumphantly with its most accomplished band, I feel no betrayal. As Hank Williams put it: ''"I guess that I should not complain. I love you still. You win again."'' | ||
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{{Bibliography notes}} | {{Bibliography notes}} | ||
{{Bibliography next | {{Bibliography next | ||
|prev = Mojo, | |prev = Mojo, January 2014 | ||
|next = Mojo, June 1994 | |next = Mojo, June 1994 | ||
}} | }} | ||
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[[Andy Kershaw]] reviews the ''[[2½ Years]]'' box set. | [[Andy Kershaw]] reviews the ''[[2½ Years]]'' box set. | ||
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Also includes a short article about Stiff Records, circa July 1977. | |||
{{Bibliography images}} | {{Bibliography images}} | ||
[[image:1993-12-00 Mojo page 106.jpg| | [[image:1993-12-00 Mojo page 106.jpg|x260px|border]] | ||
[[image:1993-12-00 Mojo page 107.jpg| | [[image:1993-12-00 Mojo page 107.jpg|x260px|border]] | ||
<br><small> Page scans. </small> | <br><small>Page scans.</small> | ||
<small>Photo by [[Barry Plummer]].</small><br> | |||
[[image:1993-12-00 Mojo photo 01 bp.jpg|380px|border]] | |||
{{Bibliography box}} | |||
<center><h3> Stiff Records </h3></center> | |||
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<center> ''Mojo </center> | |||
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{{Bibliography text}} | |||
[[image:1993-12-00 Mojo clipping 01.jpg|124px|border|right]] | |||
The scene is Stiff Records' West London office, in 1977 — a world where the air rang to slogans like "Three No's Don't Make A Yes" and "If It Ain't Stiff It Ain't Worth A Fuck." Chalked up on the board are activities for the week: Elvis has a ''Peel Show'' on Monday, and plays Liverpool Eric's on Saturday; The Damned, meanwhile, are meeting the ''NME'''s Roy Carr on Thursday. On the left is gifted sleeve designer Barney Bubbles, whose short life and unhappy end are described in the story on page 74 of this issue. Lining up with him are (from left) Stiff staffers Suzanne Spiro (destined to marry Bruce Thomas of the Attractions), Jake Riviera (still managing Elvis and now running Demon), Cynthia Cole, Paul Conroy (nowadays MD of Virgin) and Elvis Costello's tour manager Des Brown. | |||
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[[image:1993-12-00 Mojo illustration.jpg| | <br><br> | ||
<small>Illustration by [[Paul Hamlyn]].</small><br> | |||
[[image:1993-12-00 Mojo illustration.jpg|380px|border]] | |||
<small>Cover and contents page.</small><br> | |||
[[image:1993-12-00 Mojo cover.jpg|x120px|border]] | [[image:1993-12-00 Mojo cover.jpg|x120px|border]] | ||
[[image:1993-12-00 Mojo contents page.jpg|x120px|border]] | |||
{{Bibliography notes footer}} | {{Bibliography notes footer}} | ||
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*[http://en.wikipedia.org/wiki/Mojo_(magazine) Wikipedia: Mojo] | *[http://en.wikipedia.org/wiki/Mojo_(magazine) Wikipedia: Mojo] | ||
{{DEFAULTSORT:Mojo 1993-12-00}} | |||
[[Category:Bibliography 1993 | [[Category:Bibliography]] | ||
[[Category:Bibliography 1993]] | |||
[[Category:Mojo| Mojo 1993-12-00]] | [[Category:Mojo| Mojo 1993-12-00]] | ||
[[Category:Magazine articles | [[Category:Magazine articles]] | ||
[[Category:Album reviews | [[Category:Album reviews]] | ||
[[Category:2½ Years reviews | [[Category:2½ Years reviews]] |
Latest revision as of 04:15, 29 November 2021
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