New Musical Express, February 10, 1979: Difference between revisions
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J.C.C. has established himself more firmly than anyone could possibly have predicted a year ago, and having gone further with a one-man poetry act than ever seemed possible, it would be criminal for him to limit himself to half-hour spots opening up other people's gigs. It's time to get that road band together and go for the big one. Go deh! | J.C.C. has established himself more firmly than anyone could possibly have predicted a year ago, and having gone further with a one-man poetry act than ever seemed possible, it would be criminal for him to limit himself to half-hour spots opening up other people's gigs. It's time to get that road band together and go for the big one. Go deh! | ||
The night's triumph having been and gone by 9.15, it next remained for Richard Hell And | The night's triumph having been and gone by 9.15, it next remained for Richard Hell And The Voidoids to hit the proverbial stage. "A band from New York who're gonna rock really hard for ya," murmured the avuncular Andy Drunkley. What we got was more along the lines of "posing really 'ard." | ||
Hell has now relinquished his bass in favour of a young fellow who resembles Jean Jacques Burnel's less intelligent younger brother, and Marc Bell — now firmly installed in the bosom of the Ramone Family — has been replaced by a raggedy-andy punk doll who seemed to deploy more effort than science into his drumnastics. | Hell has now relinquished his bass in favour of a young fellow who resembles Jean Jacques Burnel's less intelligent younger brother, and Marc Bell — now firmly installed in the bosom of the Ramone Family — has been replaced by a raggedy-andy punk doll who seemed to deploy more effort than science into his drumnastics. | ||
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First there's the brief indecipherable boom of taped symphonic stuff (first feeling of unease sets in) and then a tube full of lightbulbs splayed across the back-line amps sends an illuminated stutter from left to right. | First there's the brief indecipherable boom of taped symphonic stuff (first feeling of unease sets in) and then a tube full of lightbulbs splayed across the back-line amps sends an illuminated stutter from left to right. | ||
Steve Naive and Pete Thomas jog on to take up their customary places behind keyboards and kit, followed after rather an attenuated interval by Bruce Thomas and (after another one) by Elvis ''lui-meme'' in a black and white chessboard checked jacket. As it turns out, he isn't going to be playing anything off ''My Aim Is True'' (except for an encore of " | Steve Naive and Pete Thomas jog on to take up their customary places behind keyboards and kit, followed after rather an attenuated interval by Bruce Thomas and (after another one) by Elvis ''lui-meme'' in a black and white chessboard checked jacket. As it turns out, he isn't going to be playing anything off ''My Aim Is True'' (except for an encore of "Mystery Dance") so he might as well wear the cover. | ||
The sets kicks off promisingly enough with the Booker T-gone-motorik Stax-meets-Moroder groove of " | The sets kicks off promisingly enough with the Booker T-gone-motorik Stax-meets-Moroder groove of "Moods For Moderns," but the energy level seems low — Elvis turning to Bruce Thomas with an angry pump-it-up arm movement — but there's nothing they can do to boost it. | ||
They play most of the stuff off the new album with " | They play most of the stuff off the new album with "Green Shirt" and "Party Girl" coming off best because those numbers are more dependent on feel than bottle to get them over. Even the statutory tour-de-force-medley of "Lipstick Vogue" and "Watching The Detectives" comes off with but a fraction of the firepower delivered a few months back. (Check the Toronto [[Bootleg: Live At The El Mocambo (LP)|bootleg]] if you don't believe me. ''Awoah!'') | ||
They deliver " | They deliver "Oliver's Army" and Elvis gives the Attractions an across-the-throat blow-it-out gesture and they split. Then it's bring-on-the-chaps for the encores: Martin Belmont for "Pump It Up" (and off), Dave Edmunds for "Mystery Dance" (and off) and then just the basics for "Chelsea" (how're the new offices, Jake?) and "(What's So Funny 'Bout) Peace Love And Understanding." | ||
Costello is caught in three traps right now. | Costello is caught in three traps right now. | ||
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'''New Musical Express, February 10, 1979 | '''New Musical Express, February 10, 1979 | ||
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[[Charles Shaar Murray]] reviews Elvis Costello & [[The Attractions]] and support | [[Charles Shaar Murray]] reviews Elvis Costello & [[The Attractions]] with [[Martin Belmont]] and [[Dave Edmunds]] and support [[Richard Hell]] and [[John Cooper Clarke]], Tuesday, [[Concert 1979-01-30 London|January 30, 1979]], Hammersmith Palais, London, England. | ||
{{Bibliography images}} | {{Bibliography images}} |
Revision as of 22:07, 12 October 2020
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