Record Mirror, May 10, 1980: Difference between revisions
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Which means there's two axemen hitting bum note after bum chord and it's all quite amusing. For having missed the preliminary primal assault of the new wave, Costello appears to be re-writing his roots. Elvis is a punk rocker now-ow-ow! | Which means there's two axemen hitting bum note after bum chord and it's all quite amusing. For having missed the preliminary primal assault of the new wave, Costello appears to be re-writing his roots. Elvis is a punk rocker now-ow-ow! | ||
Obviously we should predict the unpredictable. In the same way as each album has turned a sudden new corner, stage experiments are on the menu, too. He rattled the keys for Sonny Boy Williamson's " | Obviously we should predict the unpredictable. In the same way as each album has turned a sudden new corner, stage experiments are on the menu, too. He rattled the keys for Sonny Boy Williamson's "Help Me" early on, showing a penchant for unearthing some of the more obscure R&B items. | ||
Other key minutes included the dual guitar isometrics halfway through " | Other key minutes included the dual guitar isometrics halfway through "Watching The Detectives," which at last realised some of the song's more melodramatic potential. | ||
Until then most of the numbers chased each other in an almost unpalatably raw one-dimensional thrash. " | Until then most of the numbers chased each other in an almost unpalatably raw one-dimensional thrash. "The Beat," "Lip Service" and "Lipstick Vogue" were indistinguishable to the point of interchangeability whilst "Oliver's Army" was churned out with all the finesse of a teleprinted pools check. | ||
Nevertheless, he almost redeemed himself with a stunning version of Peter Tosh's " | Nevertheless, he almost redeemed himself with a stunning version of Peter Tosh's "Walk And Don't Look Back" which finally managed to introduce a little light and shade into the proceedings. | ||
Amidst the usual encores was a spirited " | Amidst the usual encores was a spirited "Pump It Up," Costello bopping around for the first time though still not getting to grips with the poor sound and instrumental clumsiness that continued making the songs sound identical. | ||
Then again he may have been deliberately perverse, stripping dawn arrangements and opting for immediacy as opposed to the ''Armed Forces'' subtleties which failed in its shallow attempt to earmark the American market. Whatever, he's still compulsive watching with half-baked punk pretensions being preferable to numerous other fads, however coy they appear. | Then again he may have been deliberately perverse, stripping dawn arrangements and opting for immediacy as opposed to the ''Armed Forces'' subtleties which failed in its shallow attempt to earmark the American market. Whatever, he's still compulsive watching with half-baked punk pretensions being preferable to numerous other fads, however coy they appear. |
Revision as of 23:10, 30 April 2020
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