New Musical Express, October 29, 1977: Difference between revisions
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<center><h3> We here at | <center><h3> We here at NME say Elvis is Declan and Ross is Day </h3></center> | ||
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<center> Phil McNeill </center> | <center> Phil McNeill </center> | ||
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'''New Musical Express, October 29, 1977 | '''New Musical Express, October 29, 1977 | ||
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[[Phil McNeill]] | [[Phil McNeill]] talks to [[Ross MacManus]]. | ||
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[[Roy Carr]] reviews the [[Single: Watching The Detectives|single]] for "[[Watching The Detectives]]"; a half-page ad for "Watching The Detectives" and [[Nick Lowe]]'s "Halfway To Paradise" runs on page [[:image:1977-10-29 New Musical Express page 28 advertisement.jpg|28]]. | [[Roy Carr]] reviews the [[Single: Watching The Detectives|single]] for "[[Watching The Detectives]]"; a half-page ad for "Watching The Detectives" and [[Nick Lowe]]'s "Halfway To Paradise" runs on page [[:image:1977-10-29 New Musical Express page 28 advertisement.jpg|28]]. | ||
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{{Bibliography box}} | {{Bibliography box}} | ||
<center><h3> From pub rock to dub rock </h3></center> | <center><h3> From pub rock to dub rock </h3></center> | ||
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<center> Roy Carr </center> | <center> Roy Carr </center> | ||
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''' Elvis Costello & The Attractions <br> | |||
Watching The Detectives | |||
{{Bibliography text}} | {{Bibliography text}} | ||
[[image:1977-10-29 New Musical Express page 28.jpg|border| | [[image:1977-10-29 New Musical Express page 28.jpg|border|140px|right]] | ||
Single Of The Week! Wins hands down, no contest. Single Of The Year! ... definitely on the short list. This record comes at a crucial juncture in Costello's career. From obscurity to fast-approaching media overkill in less than a year place's Costello in the unenviable position of having to qualify his success or bear the full brunt of a backlash. "Watching The Detectives" both affirms his credentials and silences those waiting in the wings for the kill. | Single Of The Week! Wins hands down, no contest. Single Of The Year! ... definitely on the short list. This record comes at a crucial juncture in Costello's career. From obscurity to fast-approaching media overkill in less than a year place's Costello in the unenviable position of having to qualify his success or bear the full brunt of a backlash. "Watching The Detectives" both affirms his credentials and silences those waiting in the wings for the kill. | ||
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"Watching The Detectives" is like nothing you've heard before. Instruments and voices zoom in an out of focus and reappear without warning as, with menace in his heart, Costello narrates a bizarre scenario about a boy desperately trying to attract his girl's attention away from the television, to no avail. She gazes at one cop show after another. The situation becomes blurred, the tension unbearable, roles are exchanged and you're not certain that if the girl who gets wasted is in the teleplay or watching it. | "Watching The Detectives" is like nothing you've heard before. Instruments and voices zoom in an out of focus and reappear without warning as, with menace in his heart, Costello narrates a bizarre scenario about a boy desperately trying to attract his girl's attention away from the television, to no avail. She gazes at one cop show after another. The situation becomes blurred, the tension unbearable, roles are exchanged and you're not certain that if the girl who gets wasted is in the teleplay or watching it. | ||
Powerful stuff. I don't think I'm going over the top when I state that "Watching The Detectives" is one of the most important singles of the '70s. I'd be interested to hear some of the out-takes. Live versions of "Blame It On Cain" and "Mystery Dance" make up the flip. | Powerful stuff. I don't think I'm going over the top when I state that "Watching The Detectives" is one of the most important singles of the '70s. I'd be interested to hear some of the out-takes. Live versions of "Blame It On Cain" and "Mystery Dance" make up the{{nb}}flip. | ||
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[[image:1977-10-29 New Musical Express page 28 advertisement.jpg|380px|border]] | [[image:1977-10-29 New Musical Express page 28 advertisement.jpg|380px|border]] | ||
<br><small>Ad for "Watching The Detectives" single.</small> | <br><small>Ad for "Watching The Detectives" single.</small> | ||
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As a result, most pub rock releases died the death. | As a result, most pub rock releases died the death. | ||
Ace were a prime example. That one good song, "How Long" | Ace were a prime example. That one good song, "How Long," may have been a transatlantic chart-topper but they had little with which to follow it. Kokomo's recording career was as shortlived as the band itself, and the same applied to Clancy, The Kilburns, The Winkies and Chilli Willi. | ||
The Brinsleys and Ducks Deluxe were just unlucky, and their records deserved a better response than they received. | The Brinsleys and Ducks Deluxe were just unlucky, and their records deserved a better response than they received. | ||
The only band that appeared to be able to operate on all levels was Dr. Feelgood, yet it wasn't until they released their third album, their concert souvenir | The only band that appeared to be able to operate on all levels was Dr. Feelgood, yet it wasn't until they released their third album, their concert souvenir ''Stupidity'', that they fulfilled their potential. | ||
As quickly as bands like the Brinsleys and Ducks Deluxe folded, they were replaced by much younger aggregations such as The Count Bishops, Eddie & The Hot Rods and the 101'ers — the latter spawning Clash-man Joe Strummer. | As quickly as bands like the Brinsleys and Ducks Deluxe folded, they were replaced by much younger aggregations such as The Count Bishops, Eddie & The Hot Rods and the 101'ers — the latter spawning Clash-man Joe Strummer. | ||
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Despite the demise of many pub bands, many of their musicians went on to achieve greater success elsewhere. | Despite the demise of many pub bands, many of their musicians went on to achieve greater success elsewhere. | ||
A prime example was when ex-Ducks | A prime example was when ex-Ducks Deluxer Martin Belmont, ex-Bontemps Roulets' Andrew Bodnar and Steve Goulding, and Brinsley Schwarz himself, assisted by former employee Bob Andrews, amalgamated behind Graham Parker to form The Rumour. | ||
Ducks Deluxe bar-room bully Sean Tyla re-appeared with the Tyla Gang, while his former cohorts Nick Garvey and Andy McMaster went on to mastermind The Motors. | Ducks Deluxe bar-room bully Sean Tyla re-appeared with the Tyla Gang, while his former cohorts Nick Garvey and Andy McMaster went on to mastermind The Motors. | ||
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<small>Cover and clipping.</small><br> | |||
[[image:1977-10-29 New Musical Express cover 1.jpg|x120px|border]] | [[image:1977-10-29 New Musical Express cover 1.jpg|x120px|border]] | ||
[[image:1977-10-29 New Musical Express page 11 clipping.jpg|x120px|border]] | [[image:1977-10-29 New Musical Express page 11 clipping.jpg|x120px|border]] | ||
{{Bibliography notes footer}} | {{Bibliography notes footer}} | ||
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*[http://www.nme.com/ NME.com] | *[http://www.nme.com/ NME.com] | ||
*[http://en.wikipedia.org/wiki/NME Wikipedia: NME] | *[http://en.wikipedia.org/wiki/NME Wikipedia: NME] | ||
*[https://www.flickr.com/photos/littletriggers/51107757049/ Flickr] [[Stephen McCathie]] | |||
{{DEFAULTSORT:New Musical Express 1977-10-29}} | {{DEFAULTSORT:New Musical Express 1977-10-29}} |
Revision as of 16:54, 8 May 2021
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