Record Mirror, March 14, 1981: Difference between revisions
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Sure the tunes still come as thick and fast as machine gun shells but amongst them are pure pearl mini-epics one wouldn't have thought him capable of. Whereas "[[Big Tears]]" merely showed compassion,"[[Clowntime Is Over]]" put Laurence Olivier's acting on a par with Tweetie Pie's. Head held in angst, palms clasped in prayer, it was melodrama itself while "[[Hand In Hand]]" literally choked on its own venom. | Sure the tunes still come as thick and fast as machine gun shells but amongst them are pure pearl mini-epics one wouldn't have thought him capable of. Whereas "[[Big Tears]]" merely showed compassion,"[[Clowntime Is Over]]" put Laurence Olivier's acting on a par with Tweetie Pie's. Head held in angst, palms clasped in prayer, it was melodrama itself while "[[Hand In Hand]]" literally choked on its own venom. | ||
Perhaps more important, his voice was stronger than ever,reaching its crooning peak on that masterpiece of paranoia "[[Watch Your Step]]" and | 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 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]]" / "[[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. | 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. | ||
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{{Bibliography images}} | {{Bibliography images}} | ||
[[image:1981-03-14 Record Mirror | [[image:1981-03-14 Record Mirror clipping 1.jpg|360px|border]] | ||
<br><small>Clipping.</small> | |||
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[[image:1981-03-14 Record Mirror photo | [[image:1981-03-14 Record Mirror photo 1.jpg|360px|border]] | ||
<br><small>Photo.</small> | <br><small>Photo.</small> | ||
[[image:1981-03-14 Record Mirror cover 1.jpg|x120px|border]] | |||
<br><small>Cover.</small> | |||
{{Bibliography notes footer}} | {{Bibliography notes footer}} |
Revision as of 19:52, 27 November 2014
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