New Musical Express, March 12, 1983: Difference between revisions
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Wallop! When Skaville hits the smoke all hell breaks loose. Those precious rhythms stir young bodies, upful and enervating, penetrating to the deepest recesses of the seventh sense and unleashing a whirling mass of energetic celebration, dance carnage. Stomping boots and shuffling sneakers, Madness is all in the feet. | Wallop! When Skaville hits the smoke all hell breaks loose. Those precious rhythms stir young bodies, upful and enervating, penetrating to the deepest recesses of the seventh sense and unleashing a whirling mass of energetic celebration, dance carnage. Stomping boots and shuffling sneakers, Madness is all in the feet. | ||
Skaville hit the smoke Monday night at the Lyceum | Skaville hit the smoke Monday night at the Lyceum; Tuesday night at the Dominion is more like a matinee, presented in Tottenham Court Road's best pantomime setting, complete with 6.30 start and a Saturday Club audience buying popcorn in the foyer. Whereas the Lyceum gig was a rough and rowdy skanking free-for-all, the Dominion show was a tidy extravaganza, a supremely professional package for all the bairns perched smiling on the back of their seats. Madness at the Dominion was a BIG performance, grand theatre polished till it shone. | ||
Shame then that they took so long to get there... | Shame then that they took so long to get there... | ||
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"Night Boat To Cairo," from its moment of release, joined the list of ska classics; within it is contained the secret of pop — that moment when the skank slows to Woody's cymbals and Lee's sax and you just ''know...'' Wallop! That punctuated second waiting for the glorious thing to start again is the most wonderful moment this side of waiting for Elvis Presley to finish one of his long drawn out Sun-session vowels. | "Night Boat To Cairo," from its moment of release, joined the list of ska classics; within it is contained the secret of pop — that moment when the skank slows to Woody's cymbals and Lee's sax and you just ''know...'' Wallop! That punctuated second waiting for the glorious thing to start again is the most wonderful moment this side of waiting for Elvis Presley to finish one of his long drawn out Sun-session vowels. | ||
Madness stretch the celebration by bringing on Elvis Costello to surpass his own treatment of "Tomorrow's Just Another Day" on the new 12 | Madness stretch the celebration by bringing on Elvis Costello to surpass his own treatment of "Tomorrow's Just Another Day" on the new 12". Suffice to say it was it was a masterful performance, vastly superior to the version Madness had played earlier in the evening. | ||
Elvis, ergo fabulous — Costello's voice is invariably overrated (the lad isn't exactly Howard Tate) and his songs have often seemed designed more to be studied as exercises in lyricism than to be sung, but tonight he made perfect sense to me. Costello was impressive even it Carl wins on good looks... | Elvis, ergo fabulous — Costello's voice is invariably overrated (the lad isn't exactly Howard Tate) and his songs have often seemed designed more to be studied as exercises in lyricism than to be sung, but tonight he made perfect sense to me. Costello was impressive even it Carl wins on good looks... | ||
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Madness are Britain's finest dance band and the young ones know{{nb}}it. | Madness are Britain's finest dance band and the young ones know{{nb}}it. | ||
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{{tags}}[[Madness]] {{-}} [[Dominion Theatre]] {{-}} [[Graham McPherson|Suggs]] {{-}} [[Carl Smyth]] {{-}} [[Mike Barson]] {{-}} [[Lee Thompson]] {{-}} [[Tomorrow's (Just Another Day)]] {{-}} [[Elvis Presley]] {{-}} [[Howard Tate]] {{-}} [[The Beat (band)]] {{-}} [[Dusty Springfield]] {{-}} [[Just A Memory|Losing You (Just A Memory)]] {{-}} [[Dusty Springfield: White Heat|White Heat]] {{-}} [[Graham Lock]] | |||
{{cx}} | {{cx}} | ||
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{{Bibliography notes}} | {{Bibliography notes}} | ||
{{Bibliography next | {{Bibliography next | ||
|prev = New Musical Express, | |prev = New Musical Express, February 26, 1983 | ||
|next = New Musical Express, | |next = New Musical Express, May 28, 1983 | ||
}} | }} | ||
'''New Musical Express, March 12, 1983 | '''New Musical Express, March 12, 1983 |
Latest revision as of 20:34, 1 May 2020
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