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I mean, how ironic can you get? But you would expect Elvis Costello to open his set with something named "Waiting For The End of The World"? At seven-thirty we waited for Nick Lowe with Rockpile, a shakin' pop quartet that featured Dave "I Hear You Knockin'" Edmunds. After his unfortunately short set we waited for Mink Deville, New York City street poet extraordinaire, a narrow black vision with heart breaker hair. Then we waited for Elvis. And now what are we waiting for?
Don't think it's the end of the world. It's going to take a hell of a lot more than an angry young man from England with a guitar and rumpled green suit to prevent that, but right now Costello and his company are working hard to wake and shake the rock and roll audiences in America. This was the second time Elvis and Nick Lowe appeared in Buffalo in as many months. You think that may have been a bit repetitive? WRONG! I don't think Elvis could ever be. His persona was a little more relaxed, and Shea's by nature induces a bit of more reserved behaviour than the 60-cent mixed drink policy of Buff State's Moot Hall Nightclub. At Buff State, we were told that the concert looked like a fuckin' kids tea party, and to get the hell up. On Tuesday: "Hey, how 'bout turning this place into a dance hall?" And no way he could cross the parapet orchestra pit at that elegant showplace to incur it. But that ended up being inconsequential. After Elvis' one encore, the lights went up. And it still took a full five minutes before the raving stopped and people started to leave.
Even before he sang one note, you knew Nick Lowe, was the Jesus of Cool. The angels may wear red shoes but Jesus wears the white ones. Opening with "So It Goes" from the latest pop masterpieces Pure Pop For Now People, Lowe set the rhythm, on bass, with Edmunds playing rave-up guitar. Next is "I Knew The Bride," an out-and-out rocker featured on the Stiffs Live album. It sounded like the Stiffs Nick Lowe medley coming up with the transitional heavy drums hinting at "Let's Eat." Instead it's the sound of "Breaking Glass." On the record, there is slivered, tinky piano, sending shards deep into the night. Without Bob Andrews there, though, the song becomes a pounding shaker, reminiscent of "Not Fade Away." It's good to see that Lowe can stand back and give the stage to the back-up for "Ju Ju Man." After ail, Rockpile is Edmunds' band, and Lowe's been working with them long enough in a give and take relationship to know that they rate a share of the spotlight.
After Rockpile's parsimonious power pop, Mink Deville appeared changing the scenery from London Rock into New York street beat. Their leader, singer Willy DeVille, has definitely taken the 60s influence to its 70s pinnacle. Dressed in a black suit (skinny tie and all) Willy behaved as if the ghost of Mitch Ryder was hovering over his shoulder. It is a shame that the Detroit Wheels weren't behind him cause Willy has the persona to lead a tighter band. Not that Mink DeVille are a shoddy array of anachronistic rockers, they have the capability (and instrumentation) to really rave it up. Since his last Buffalo engagement, that ill-fated gig with Jesse Colin Who?, Mink DeVille have improved tremendously. Sounds as if Willy digested a cache of James Brown records in the interim. During "Spanish Stroll" everything went together perfectly. The crowd's reaction changed from curiosity to involvement bringing Willy and Co. back for one more, treating us to "She's So Tough." And indeed it was. The lights went on as cigarette smoke billowed up from the floor, informing the crowd to make their dash to the bar ... because everybody knows that Elvis comes onstage unannounced.
If you're "Waiting For the End of the World," forget it. This is only the beginning. Even with his guitar used mostly as a prop, Elvis is a monster talent, a tremendous vocal interpreter if something less than a guitar genius. His set is incredibly tight, with no time wasted for transitional tune-ups and remarks. The songs are punched out one right after the other, the Attractions providing the perfect sparse back-up (especially Steve Naive on the keyboards — maybe he really was in Question Mark and the Mysterians). He pumped, it up and belteed it out, and then "Good night... ight... ight... ight..." The audience thrown into confusion by the echoplex, screaming for what they knew they would get. We'll all remember how the lights went out, mystery dancing to the music of "Miracle Man." And then it was over, even though the crowd couldn't be convinced for another five minutes.
Don't count on Elvis being back again in Buffalo in another two months. But if you're in New York the weekend of May 21, get down to the Palladium before you miss it again. They may not walk on water, but Elvis Costello, Mink Deville and Nick Lowe have all got the beat. There's gonna be so much dancin' when they get home.
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