New York Daily News, February 8, 1981

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Calmer Elvis Costello is different but good


Clint Roswell

Two years ago, Elvis Costello toured America and discovered that his natural hostile inclination towards accepted social behavior was misconstrued as the cheekiness of a wayward celebrity. His effrontery, best measured by a snarl and a kick at all comers, became well-documented public arts leveled at other musicians, press — even his own fans.

Perhaps Costello felt trapped by his own neuroses because his current cross-country, 19-city tour — which pulled into the Palladium for three sold-out nights — showed a different, more serious and less frenetic Costello.

However true, this image of the skinny Londoner with pompadour, glasses and prickly personality, has often obscured his talent as the musical reincarnation of Buddy Holly. And besides similar looks, Costello and the first father of rock share a bond as well-defined tunesmiths whose clear, provocative melodies summon the sensitivities of an age.

The '50s were times of innocent first exposures to a regulatory society, a stark contrast to the corporate strangulation of personal wills that Costello belabors with such classic Holly pop themes as estrangement, loneliness, and, of course. love.

Fierce or touching, Costello's aim is true. He can portray all the pathos of dead-end, dim-lit streets of urban life in songs like "Black and White World," "Waiting for the End of the Working Week" or "Watch Your Step," from his new album, Trust, soon out on CBS. Yet just as compelling as the riveting rockers like "Mystery Dance" or "Chelsea" are the passion-drenched ballads "Alison" or "My Funny Valentine" which strip away the hard edged veneer Costello projects to the world.

His musical virtuosity, evidenced by six distinctively different albums since he emerged as a scratchy-voiced angry English mod in 1977, reveals his many moods. That's what makes Trust an interesting release. Costello voices compassion in a clear, confessional voice that would warm over his harshest critics. Lyrics are delivered with decipherable phrasings which give Costello a striking new posture as a well-versed singer; his vocals deftly top the tightly-woven tracks of the Attractions.

Apparently, Costello has been able to take his success from the studio and apply it in the concert arena. He lengthened his performance somewhat and has taken a less frenzied approach in delivering his lines to better articulate the vocals. His concerts still overwhelm audiences, but word has it that now they walk away knowing the power and the passion of his lyrics.

There is another interesting facet about the Palladium shows. Costello invited two musicians — guitarist Martin Belmont of Graham Parker's Rumour and Glen Tilbrook, the singer and guitarist of Squeeze (a highly successful English New Wave group which will open the show despite its own capability of selling out the Palladium by itself) Tilbrook and Costello combined on Trust in the rousing, "From a Whisper to a Scream," and both performed the song together on stage. It's a courtesy no one would have imagined possible from Elvis Costello two years ago.

From the engrossing opener, "Shot With His Own Gun," to the punky skat backbeat of the rousing 15-minute rendition of "Watching the Detectives" for the final encore, Costello triumphantly delivered an eclectic sampling by mature artists whose professionalism underscored his prolific skills.

Costello and the Attractions proved to be a tightly-knit, exciting band onstage with keyboardist Steve Nieve meshing textural forays within sharply defined rhythm patterns set off by bassist Bruce Thomas and punctuated crisply on drums by Pete Thomas. Costello kept within the chordal bridges of the band, departing briefly on occasional guitar runs, and the emphasis remained on creating a cross current of tempos.

The band had a strikingly stirring quality to its sound, much more potent than on record, with songs like "Red Shoes" and "Clowntime Is Over" particularly convincing. At times, Costello's vocals skated over the musical passages with a deftness of phrasings that made lilting melodies like "Radio, Radio" and "Temptation" delightfully furtive blues tunes. There was also a measure of understated pacings to the forlorn "Hula Factory" and "New Lace Evening" which added a feeling to the performance.

Costello left us all with the impression he could play from his song list for hours, but walked away from the 90-minute set feeling satisfied and eager to continue his mercurial career as a leading spokesman of the current music generation.


Tags: PalladiumNew YorkThe AttractionsTrustSteve NieveBruce ThomasPete ThomasMartin BelmontGlenn TilbrookBlack And White WorldWaiting For The End Of The Working WeekWatch Your StepMystery Dance(I Don't Want To Go To) ChelseaAlisonMy Funny ValentineFrom A Whisper To A ScreamShot With His Own Gun(The Angels Wanna Wear My) Red ShoesWatching The DetectivesClowntime Is OverRadio, RadioHula FactoryNew Lace EveningTemptationSqueezeGraham ParkerThe RumourBuddy Holly

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New York Daily News, February 8, 1981


Clint Roswell profiles Elvis Costello and reviews his concert with The Attractions and guests Martin Belmont and Glenn Tilbrook, Saturday, January 31, 1981, Palladium, New York.

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1981-02-08 New York Daily News clipping 01.jpg
Clipping.

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