New Musical Express, August 6, 1977: Difference between revisions

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{{:NME index}}
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<center><h3> The king arrives alive </h3></center>
<center><h3> Heartbreak hotel </h3></center>
<center> '''Elvis Costello''' / Island Records </center>
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<center> Nick Kent </center>
<center> Julie Burchill </center>
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''' Elvis Costello <br>
Dingwalls
{{Bibliography text}}
{{Bibliography text}}
Not really yer actual bona fide gig review, this, seeing as the geezer and `is combo were only playing in the Island video room for a bunch of Island reps who were there for a single ganders at what they're actually peddling into all those record stores out in the sticks.
"A raw nerve," said the boy I was with in the back of a car ''apres'' Elvis. I studied the streets and sighed to remember a thought from Mink DeVille: ''"Love... what's so good about it? But then again, I can't say what's bad."''


But then again, our El put on the best show I've seen since Talking Heads at the Roundhouse — and, God, he's just so damnably good that if you're going to get all the usual superlatives rammed down your brain-plate on this latest hot property, then it might as well be me who's doing it to you.
What's bad about True Love in the Modern World is that pollution is rife. (''"I heard you let that little friend of mine take off your party dress"'' — "Alison")


Anyway, Costello's younger than you thought (only 22, one year older than Johnny Rotten as it happens), he's not too flashy, plays great sparse guitar, and he's got all these amazing self-penned songs going for him. The stuff from the album is great as it is — and it's even better when you hear it live because the band is really hot.
Pete Thomas on drums, Bruce Thomas on bass and Steven Young on organ (and what an organ!) are the backdrop to the guitar, voice and vitriol of Elvis Costello (22 and still true), who sings beautiful songs for losers.


Former Chilli Willi drummer Pete Thomas does not merely keep a rock-steady beat, but he adds all these embellishments which perpetually take it away from routine, while former Quiver bassist Bruce Thomas (no relation) is the perfect sympathetic counterpart. That just leaves an organist, Steven Young, who looks like Costello's brother and who plays in an eminently suitable, particularly Doors-like style, both understated and very, very sinister — the perfect accompanying tool for Costello's often peculiarly sinister songs of revenge and guilt.
This is bedsit-room, singles-bar, phone-in agony (''"Why do you have to say that there's always someone who can do it better than I can?"'' — "Miracle Man") from which the venom runneth over into that rarity, luxurious rock and roll. The guilty secret, the useless anticipation, the unrequited ache all unite to dam-bust through into bitterness, betrayal and disgust as Elvis asks: ''"Why why why?"''


Stand-outs from the ''Aim'' collection on this showing were "[[Blame It On Cain]]" (featuring Costello's only real guitar solo), "[[(The Angels Wanna Wear My) Red Shoes|The Angels Wanna Wear My Red Shoes]]" and "[[Waiting For The End Of The World|Waiting For The World To End]]" — but, God, each song has something going for it.
He may not look like a teen wet-dream, but he has the inherent sense of nuance which marks him out as one of the fated feted (''"I used to be disgusted, now I try to be amused"'' "Red Shoes"), a fact which became more and more painfully obvious as Costello bled through every single track of ''My Aim Is True'', plus songs such as "Watching The Detectives," "Lipstick Vogue," "Lip Service," "I Don't Want To Go To Chelsea" and the B-side of "Less Than Zero" (the first single), "Radio Sweetheart."


Better by far, though — and this is what really excited me — is the new stuff, principally the three closing numbers, which brought the performance to a riveting climax. This triumvirate — the tortured reggae "[[Watching The Detectives]]," the intense "[[Lipstick Vogue]]," and finally "[[Lip Service]]" — take Costello's already exceptional talents onto a whole new level of intrigue.
The second single, "Alison," and the latest "Red Shoes" also came in for a beating; but the song that took the prize was the elpee track "I'm Not Angry," a song that could kill at a fifty foot radius: ''"You're upstairs with a boyfriend while I'm left here to listen / I hear you calling his name I hear the stutter of admission / I could hear you whispering as I crept by your door / So you found some other joker who could please you some more / I'm not angry! Not angry, anymore!"''


"Watching The Detectives," for example, is a song about a couple watching ''Starsky And Hutch'' until the guy notices his girlfriend has forsaken him totally for the TV action, and he promptly kills her. It's absolutely loaded with brilliant lines and couplets that simply jump out and bedazzle.
It also imprisons THE line ''"There is no such thing as an original sin!"''


Forget all those Springsteen comparisons — the latter'll die before he ever writes anything half as good as this.
As well as shooting up the mainline to your heart, Elvis Costello also plays nirvana dancing music, and had I not been so spellbound (like watching Iggy at Aylesbury; I was so entranced I barely applauded) I would have Watusi'd.


Forget the Van Morrison schtick too. They're worlds apart, and Elvis is currently worlds better if ''A Period Of Transition'' is Morrison's best form.
Beyond all boundaries of excess and decadence, certain people operate as though the Modern World never existed, singing songs of lethal love to pure pop tunes. Mink DeVille does it for America, and Elvis Costello does it for us.


The amazing thing is that after the "Detectives" epiphany, Costello simply outdoes himself first with "Lipstick Vogue," full of pained, vengeful longing and a sudden, stuttering, single-note guitar solo break that says it all — and finally "Lip Service." ''"That's all you'll get from me,"'' he screams; this is a song of vengeance in the classic "Positively Fourth Street" tradition. Hearing it just reminded me how long it's been since rock songs have been that sharp, that great. Oh, and forget that "Balladeer of the New Wave" nonsense some fool in the comics tried to stick him with last week. When all the self-conscious new-wavers are drowning, Elvis will be on top. No shit.
{{cx}}
 
Like he says in "Detectives," it just ''"takes his little fingers to blow you away".''


{{tags}}[[Dingwalls]] {{-}} [[London]] {{-}} [[The Attractions]] {{-}} [[Pete Thomas]] {{-}} [[Bruce Thomas]] {{-}} [[Steve Nieve|Steven Young]] {{-}} [[My Aim Is True]] {{-}} [[Alison]] {{-}} [[Miracle Man]] {{-}} [[(The Angels Wanna Wear My) Red Shoes]] {{-}} [[Watching The Detectives]] {{-}} [[Lipstick Vogue]] {{-}} [[Lip Service]] {{-}} [[(I Don't Want To Go To) Chelsea]] {{-}} [[Less Than Zero]] {{-}} [[Radio Sweetheart]] {{-}} [[I'm Not Angry]] {{-}} [[Iggy Pop]] {{-}} [[Aylesbury]] {{-}} [[Mink DeVille]]
{{cx}}
{{cx}}


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'''New Musical Express, August 6, 1977
'''New Musical Express, August 6, 1977
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[[Nick Kent]] reviews Elvis Costello & [[The Attractions]], Friday, [[Concert 1977-07-22 London|July 22, 1977]], Island Records video room, London.
[[Julie Burchill]] reviews Elvis Costello & The Attractions, Tuesday, [[Concert 1977-07-26 London|July 26]], Dingwalls, London.
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[[Julie Burchill]] reviews Elvis Costello & The Attractions, Tuesday, [[Concert 1977-07-26 London|July 26, 1977]], Dingwalls, London.
A full page ad for ''[[My Aim Is True]]'' runs on pg. [[:image:1977-08-06 New Musical Express page 17 advertisement.jpg|17]]; the lp is "Bubbling Under" on the [[:image:1977-08-06 New Musical Express page 02.jpg|album chart]].
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A full page ad for ''My Aim Is True'' runs on page 17.


{{Bibliography images}}
{{Bibliography images}}


[[image:1977-08-06 New Musical Express photo 01 cd.jpg|360px|border]]
[[image:1977-08-06 New Musical Express clipping 01.jpg|x341px]]{{t}}
<br><small>Photo by [[Chalkie Davies]].</small>
[[image:1977-08-06 New Musical Express page 17 advertisement.jpg|x341px|border|pg. 17]]
<br><small>Clipping and advertisement.</small>


<br>
{{Bibliography box 360}}
<center><h3> Heartbreak hotel </h3></center>
<center>''' Elvis Costello ''' / Dingwalls </center>
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<center> Julie Burchill </center>
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{{Bibliography text}}
[[image:1977-08-06 New Musical Express clipping 01.jpg|130px|border|right]]
"A raw nerve," said the boy I was with in the back of a car ''apres'' Elvis. I studied the streets and sighed to remember a thought from Mink De Ville: ''"Love... what's so good about it? But then again, I can't say what's bad."''


What's bad about True Love in the Modern World is that pollution is rife. (''"I heard you let that little friend of mine take off your party dress"'' — "Alison")
<small>Photo by [[Chalkie Davies]].</small><br>
[[image:1977-08-06 New Musical Express photo 01 cd.jpg|380px|border]]


Pete Thomas on drums, Bruce Thomas on bass and Steven Young on organ (and what an organ!) are the backdrop to the guitar, voice and vitriol of Elvis Costello (22 and still true), who sings beautiful songs for losers.


This is bedsit-room, singles-bar, phone-in agony (''"Why do you have to say that there's always someone who can do it better than I can?"'' — "[[Miracle Man]]") from which the venom runneth over into that rarity, luxurious rock and roll. The guilty secret, the useless anticipation, the unrequited ache all unite to dam-bust through into bitterness, betrayal and disgust as Elvis asks: ''"Why why why?"''
<small>Cover and chart page.</small><br>
 
[[image:1977-08-06 New Musical Express cover.jpg|x120px|border]]
He may not look like a teen wet-dream, but he has the inherent sense of nuance which marks him out as one of the fated feted (''"I used to be disgusted, now I try to be amused"'' — "[[(The Angels Wanna Wear My) Red Shoes|Red Shoes]]"), a fact which became more and more painfully obvious as Costello bled through every single track of ''My Aim Is True'', plus songs such as "[[Watching The Detectives]]," "[[Lipstick Vogue]]," "[[Lip Service]]," "[[(I Don't Want To Go To) Chelsea|I Don't Want To Go To Chelsea]]" and the B-side of "[[Less Than Zero]]" (the first single), "[[Radio Sweetheart]]."
[[image:1977-08-06 New Musical Express page 02.jpg|x120px|border|Chart page.]]
 
The second single, "Alison," and the latest "Red Shoes" also came in for a beating; but the song that took the prize was the elpee track "[[I'm Not Angry]]," a song that could kill at a fifty foot radius: ''"You're upstairs with a boyfriend while I'm left here to listen / I hear you calling his name I hear the stutter of admission / I could hear you whispering as I crept by your door / So you found some other joker who could please you some more / I'm not angry! Not angry, anymore!"''
 
It also imprisons THE line ''"There is no such thing as an original sin!"''
 
As well as shooting up the mainline to your heart, Elvis Costello also plays nirvana dancing music, and had I not been so spellbound (like watching Iggy at Aylesbury; I was so entranced I barely applauded) I would have Watusi'd.
 
Beyond all boundaries of excess and decadence, certain people operate as though the Modern World never existed, singing songs of lethal love to pure pop tunes. Mink De Ville does it for America, and Elvis Costello does it for us.


{{cx}}
{{cx}}
<br><br>
[[image:1977-08-06 New Musical Express page 17 advertisement.jpg|360px|border]]
<br><small>Advertisement.</small>
[[image:1977-08-06 New Musical Express cover.jpg|x120px|border]]
[[image:1977-08-06 New Musical Express illustration.jpg|x120px|border]]
<br><small>Cover and illustration.</small>


{{Bibliography notes footer}}
{{Bibliography notes footer}}
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*[http://en.wikipedia.org/wiki/NME Wikipedia: NME]
*[http://en.wikipedia.org/wiki/NME Wikipedia: NME]
*[http://en.wikipedia.org/wiki/Julie_Burchill Wikipedia: Julie Burchill]
*[http://en.wikipedia.org/wiki/Julie_Burchill Wikipedia: Julie Burchill]
*[http://en.wikipedia.org/wiki/Nick_Kent Wikipedia: Nick Kent]
*[https://www.flickr.com/search/?user_id=13068920%40N00&view_all=1&text=N.M.E.%2006%3A08%3A1977 Flickr:] [[Stephen McCathie]]  
*[http://www.flickr.com/photos/littletriggers/14236460991/ Flickr: littletriggers]
*[http://www.elviscostello.info/articles/n/nme.770806a.html elviscostello.info]
*[http://www.elviscostello.info/articles/s/sounds.770813a.html elviscostello.info]
*[http://www.elviscostello.info/articles/s/sounds.770813a.html elviscostello.info]
*[http://www.barneybubbles.com/blog/archives/2797 barneybubbles.com]
<!-- *[http://www.barneybubbles.com/blog/archives/2797 barneybubbles.com] -->
<!-- *[https://rettiwt.com/StuartPenney1/status/1046265893041242114 rettiwt: StuartPenney] -->


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[[Category:Magazine articles]]
[[Category:Magazine articles]]
[[Category:1977 concert reviews]]
[[Category:1977 concert reviews]]
[[Category:1st Attractions Tour|~New Musical Express 1977-08-06]]

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NME

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Heartbreak hotel


Julie Burchill

Elvis Costello
Dingwalls

"A raw nerve," said the boy I was with in the back of a car apres Elvis. I studied the streets and sighed to remember a thought from Mink DeVille: "Love... what's so good about it? But then again, I can't say what's bad."

What's bad about True Love in the Modern World is that pollution is rife. ("I heard you let that little friend of mine take off your party dress" — "Alison")

Pete Thomas on drums, Bruce Thomas on bass and Steven Young on organ (and what an organ!) are the backdrop to the guitar, voice and vitriol of Elvis Costello (22 and still true), who sings beautiful songs for losers.

This is bedsit-room, singles-bar, phone-in agony ("Why do you have to say that there's always someone who can do it better than I can?" — "Miracle Man") from which the venom runneth over into that rarity, luxurious rock and roll. The guilty secret, the useless anticipation, the unrequited ache all unite to dam-bust through into bitterness, betrayal and disgust as Elvis asks: "Why why why?"

He may not look like a teen wet-dream, but he has the inherent sense of nuance which marks him out as one of the fated feted ("I used to be disgusted, now I try to be amused" — "Red Shoes"), a fact which became more and more painfully obvious as Costello bled through every single track of My Aim Is True, plus songs such as "Watching The Detectives," "Lipstick Vogue," "Lip Service," "I Don't Want To Go To Chelsea" and the B-side of "Less Than Zero" (the first single), "Radio Sweetheart."

The second single, "Alison," and the latest "Red Shoes" also came in for a beating; but the song that took the prize was the elpee track "I'm Not Angry," a song that could kill at a fifty foot radius: "You're upstairs with a boyfriend while I'm left here to listen / I hear you calling his name I hear the stutter of admission / I could hear you whispering as I crept by your door / So you found some other joker who could please you some more / I'm not angry! Not angry, anymore!"

It also imprisons THE line "There is no such thing as an original sin!"

As well as shooting up the mainline to your heart, Elvis Costello also plays nirvana dancing music, and had I not been so spellbound (like watching Iggy at Aylesbury; I was so entranced I barely applauded) I would have Watusi'd.

Beyond all boundaries of excess and decadence, certain people operate as though the Modern World never existed, singing songs of lethal love to pure pop tunes. Mink DeVille does it for America, and Elvis Costello does it for us.


Tags: DingwallsLondonThe AttractionsPete ThomasBruce ThomasSteven YoungMy Aim Is TrueAlisonMiracle Man(The Angels Wanna Wear My) Red ShoesWatching The DetectivesLipstick VogueLip Service(I Don't Want To Go To) ChelseaLess Than ZeroRadio SweetheartI'm Not AngryIggy PopAylesburyMink DeVille

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New Musical Express, August 6, 1977


Julie Burchill reviews Elvis Costello & The Attractions, Tuesday, July 26, Dingwalls, London.


A full page ad for My Aim Is True runs on pg. 17; the lp is "Bubbling Under" on the album chart.

Images

1977-08-06 New Musical Express clipping 01.jpgpg. 17
Clipping and advertisement.


Photo by Chalkie Davies.
1977-08-06 New Musical Express photo 01 cd.jpg


Cover and chart page.
1977-08-06 New Musical Express cover.jpg Chart page.


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