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. | ||
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{{tags}}[[Concert 1980-04-30 Berlin|Metropol]] {{-}} [[Berlin]] {{-}} [[Germany]] {{-}} [[The Attractions]] {{-}} [[Martin Belmont]] {{-}} [[The Attractions without Steve Nieve]] {{-}} [[:Category:1980 European Tour|1980 European Tour]] {{-}} [[Steve Nieve|Steve Naive]] {{-}} [[The Rumour]] {{-}} [[Sonny Boy Williamson]] {{-}} [[Help Me]] {{-}} [[Watching The Detectives]] {{-}} [[The Beat]] {{-}} [[Lip Service]] {{-}} [[Lipstick Vogue]] {{-}} [[Oliver's Army]] {{-}} [[Don't Look Back]] {{-}} [[Pump It Up]] {{-}} [[Armed Forces]] {{-}} [[The Inmates]] {{-}} [[The Police]] {{-}} [[Sylvester Stewart|Sly Stone]] {{-}} [[The Knack]] | |||
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[[Mike Nicholls]] reviews Elvis Costello & [[The Attractions]] with [[Martin Belmont]] (without [[The Attractions without Steve Nieve|Steve Nieve]]), Wednesday, [[Concert 1980-04-30 Berlin|April 30, 1980]], Metropol, Berlin, West Germany. | [[Mike Nicholls]] reviews Elvis Costello & [[The Attractions]] with [[Martin Belmont]] (without [[The Attractions without Steve Nieve|Steve Nieve]]), Wednesday, [[Concert 1980-04-30 Berlin|April 30, 1980]], Metropol, Berlin, West Germany. | ||
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Mike Nicholls talks to EC after the show. | |||
{{Bibliography images}} | {{Bibliography images}} | ||
[[image:1980-05-10 Record Mirror clipping.jpg| | [[image:1980-05-10 Record Mirror page 31 clipping 01.jpg|x340px|border]]{{t}} | ||
[[image:1980-05-10 Record Mirror photo.jpg| | [[image:1980-05-10 Record Mirror photo.jpg|x340px|border]] | ||
<br><small>Clipping and photo.</small> | <br><small>Clipping and photo.</small> | ||
[[image:1980-05-10 Record Mirror | <br> | ||
{{Bibliography box 360}} | |||
<center><h3> Elvis Costello </h3></center> | |||
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<center> Mike Nicholls </center> | |||
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{{Bibliography text}} | |||
[[image:1980-05-10 Record Mirror page 02 clipping 01.jpg|170px|right]] | |||
Getting into Elvis Costello's dressing room was the hardest thing I have ever done. One of The Inmates was going to help but then suddenly decided that Elvis wouldn't write them the hit single he'd promised. | |||
About to independently cross the hallowed threshold, a weighty security guard tried to throw me down a steel stair-case. Effecting a deft side-step, it was the boiler-suited one who came a cropper, thereby appropriating the expression "The pen is mightier than the paunch." | |||
Eventually the dressing room became so full of assorted syncophants that the Big E left, little realising he was about to confront a journalist from a music paper his manager for no apparent reason particularly dislikes. | |||
"Well," he declared, "that's the end of the German tour, maybe we should go to Finland for five weeks, that'll give us something to wings about." | |||
I asked him what was wrong with Iran. | |||
"That's just it," he cordially agreed, "nothing. Right, I wanna play Kabul." (Geographical note: Kabul is the capital of Afghanistan; maybe his manager should buy him an atlas.) "Yeah, if the fucking Police can play Bombay, I can do a gig for the hostages." | |||
By this point sundry promoters, record company people and would-be groupies looked ready to pass out. In for a Deutsch Mark, in for a pound, thought I and carried on regardless. Presumably, I suggested, you'll perform a cover of the Sly Stone classic "I Wanna Take You Higher (Tollah)." | |||
Costello threatened to smile. No, he actually did smile; then he laughed. | |||
"You know," he concluded, "already in America there's a version of that Knack song, 'My Atollah'." | |||
Next week: What happened when Elvis Costello invited yours truly back to his hotel for a drink. | |||
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<br> | |||
<small>Cover and page scan.</small><br> | |||
[[image:1980-05-10 Record Mirror cover.jpg|x120px|border]] | |||
[[image:1980-05-10 Record Mirror page 31.jpg|x120px|border]] | |||
{{Bibliography notes footer}} | {{Bibliography notes footer}} | ||
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==External links== | ==External links== | ||
*[http://en.wikipedia.org/wiki/Record_Mirror Wikipedia: Record Mirror] | *[http://en.wikipedia.org/wiki/Record_Mirror Wikipedia: Record Mirror] | ||
*[https://www.flickr.com/photos/57779449@N02/albums/72157717888563817 Flickr][https://www.flickr.com/photos/57779449@N02/50834704006/ {{t}}][https://www.flickr.com/photos/57779449@N02/50834732642/ {{t}}] [[Michael Kane]] | |||
*[http://www.americanradiohistory.com/Record_Mirror.htm americanradiohistory.com{{t}}][http://www.americanradiohistory.com/Archive-Record-Mirror/80s/80/Record-Mirror-1980-05-10.pdf {{t}}] | |||
{{DEFAULTSORT:Record Mirror 1980-05-10}} | {{DEFAULTSORT:Record Mirror 1980-05-10}} |
Latest revision as of 22:56, 12 September 2021
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