Record Mirror, March 14, 1981: Difference between revisions
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{{Bibliography index}} | {{Bibliography index}} | ||
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<center><h3> | <center><h3> Blue Chip Costello </h3></center> | ||
<center>''' Elvis Costello </center> | |||
<center> Manchester, Apollo (4th row, centre stalls) </center> | |||
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<center>Mike Nicholls</center> | <center> Mike Nicholls </center> | ||
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{{Bibliography text}} | {{Bibliography text}} | ||
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Not only that but there's also acknowledgement of the fact that there's an audience out there. Hence witty asides like introducing "[[Clubland]]" as his (stiffed) Xmas single. And when the very mention of ''[[Trust]]'' garnered a Crackerjack-style reception, he wryly prided himself that at least some people bought it. | Not only that but there's also acknowledgement of the fact that there's an audience out there. Hence witty asides like introducing "[[Clubland]]" as his (stiffed) Xmas single. And when the very mention of ''[[Trust]]'' garnered a Crackerjack-style reception, he wryly prided himself that at least some people bought it. | ||
But the main events | But the main events were the smiles: big ones for happy songs, little smiles for sad songs and coy ones over the top of his shades to make sure the clever lines didn't go unnoticed. | ||
Yep, there was expressiveness in abundance and before gibbering any further let me tell you that this was the most faultless performance I've ever seen — from Elvis at any rate. Having honed his songs and his band to excruciating tightness, there's now time to concentrate on the visuals. Essential with most acts anyway, but not him as a result of the extraordinary quality of the goods in every other department. | Yep, there was expressiveness in abundance and before gibbering any further let me tell you that this was the most faultless performance I've ever seen — from Elvis at any rate. Having honed his songs and his band to excruciating tightness, there's now time to concentrate on the visuals. Essential with most acts anyway, but not him as a result of the extraordinary quality of the goods in every other department. | ||
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Perhaps more important, his voice was stronger than ever,reaching its crooning peak on that masterpiece of paranoia "[[Watch Your Step]]" and [[Merle Haggard]]'s "[[I'll Take Care Of You|I'll Take Good Care of You]]." Other covers included a couple of [[Bobby Bland|Bobby Blue Bland]] songs and his namesake's "[[Little Sister]]," a stroke of grand larceny coming over like a fierce crossbreed of Motown's "Rockin' Robin" and Gene Vincent's "Be Bop A Lu La." | Perhaps more important, his voice was stronger than ever,reaching its crooning peak on that masterpiece of paranoia "[[Watch Your Step]]" and [[Merle Haggard]]'s "[[I'll Take Care Of You|I'll Take Good Care of You]]." Other covers included a couple of [[Bobby Bland|Bobby Blue Bland]] songs and his namesake's "[[Little Sister]]," a stroke of grand larceny coming over like a fierce crossbreed of Motown's "Rockin' Robin" and Gene Vincent's "Be Bop A Lu La." | ||
Yet obviously it's the oldies that go down best and the opening volley of "[[Pump It Up]]" / | Yet obviously it's the oldies that go down best and the opening volley of "[[Pump It Up]]" / "[[Radio, Radio|Radio Radio]]" / "[[(I Don't Want To Go To) Chelsea|Chelsea]]" / "[[Oliver's Army]]" was the most brutal imaginable. The magnificent "[[King Horse]]" was preambled with John Cooper Clarke's "[[I Don't Want To Be Nice|I Don't Wanna Be Nice]]," then after providing the briefest of breathers with the downbeat "[[Strict Time]]," it was all systems go with "[[Possession]]," Steve Nieve's keyboards driving like a stolen Maserati. | ||
"[[Radio, Radio|Radio Radio]]" / "[[(I Don't Want To Go To) Chelsea|Chelsea]]" / "[[Oliver's Army]]" was the most brutal imaginable. The magnificent "[[King Horse]]" was preambled with | |||
The pacing was as effortlessly inspired throughout, the juxtaposition of the soaring "[[From A Whisper To A Scream]]," with the meandering, devious "[[Watching The Detectives]]" most breathtaking. | The pacing was as effortlessly inspired throughout, the juxtaposition of the soaring "[[From A Whisper To A Scream]]," with the meandering, devious "[[Watching The Detectives]]" most breathtaking. | ||
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{{Bibliography notes}} | {{Bibliography notes}} | ||
{{Bibliography next | |||
|prev = Record Mirror, January 24, 1981 | |||
|next = Record Mirror, April 4, 1981 | |||
}} | |||
'''Record Mirror, March 14, 1981 | '''Record Mirror, March 14, 1981 | ||
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<br><small>Cover and clipping.</small> | <br><small>Cover and clipping.</small> | ||
[[image:1981-03-14 Record Mirror photo 01.jpg| | [[image:1981-03-14 Record Mirror photo 01.jpg|280px|border]] | ||
<br><small>Photo.</small> | <br><small>Photo.</small> | ||
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[[Category:Record Mirror| Record Mirror 1981-03-14]] | [[Category:Record Mirror| Record Mirror 1981-03-14]] | ||
[[Category:Magazine articles|Record Mirror 1981-03-14]] | [[Category:Magazine articles|Record Mirror 1981-03-14]] | ||
[[Category:1981 concert reviews|Record Mirror 1981-03-14]] |
Revision as of 16:12, 24 October 2013
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