SUNY Buffalo Spectrum, March 30, 1979: Difference between revisions
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Again unannounced, Elvis and the Attractions took the stage in no-nonsense fashion, Costello's spectacled stare casting the first and final unspoken ultimatum to the audience: ''Rock 'n' roll means exchange, get up and dance!'' And although Elvis never had this problem in Buffalo before, there's no telling how awestruck an audience will become when you are a star. And Elvis has most definitely become a star. | Again unannounced, Elvis and the Attractions took the stage in no-nonsense fashion, Costello's spectacled stare casting the first and final unspoken ultimatum to the audience: ''Rock 'n' roll means exchange, get up and dance!'' And although Elvis never had this problem in Buffalo before, there's no telling how awestruck an audience will become when you are a star. And Elvis has most definitely become a star. | ||
The Attractions (known only as Bruce-keyboards, Steve-bass and Pete-drums) continue to gain the attention they rightfully desire and now share the [[:image:1979-03-30 SUNY Buffalo Spectrum photo 05 tb.jpg|marquee]] with their fearless leader. It is through the Attractions that Elvis' (although a decent guitarist in his own right, never stellar however) amazing compositions achieve both solid and deliberately convoluted actuality. Costello understands the entire continuum of rock | The Attractions (known only as Bruce-keyboards, Steve-bass and Pete-drums) continue to gain the attention they rightfully desire and now share the [[:image:1979-03-30 SUNY Buffalo Spectrum photo 05 tb.jpg|marquee]] with their fearless leader. It is through the Attractions that Elvis' (although a decent guitarist in his own right, never stellar however) amazing compositions achieve both solid and deliberately convoluted actuality. Costello understands the entire continuum of rock music's resources and it is from this pool of interpreted knowledge that he conducts the Attractions through exercises that border between tightly knit dynamics and free form rock improvisation. Most noticeable in the rhythm section, while songs such as "Two Little Hitlers" or "The Beat" provide steady, danceable energy, the drummer and bassist lay the sounds down in any way but conventional; Pete flailing away with respect only to the meter; Steve filling the bottom in at times with a single sustained bass note. | ||
Coupling with Bruce, whose Farfisa chord layerings gave an eerie texture to the songs' melodies, and the most lavish light show Costello has yet to tour with, the segueing of "Lipstick Vogue" into "Watching the Detectives" revealed Elvis gathering insight into another aspect of his revival technique, providing the audience with a defiant brand of post psychedelic music. This notion also splashed into the opening, disjointed version of "Waiting for the End of the World." It arrived as an excellent aural interpretation of a lyrical idea. | Coupling with Bruce, whose Farfisa chord layerings gave an eerie texture to the songs' melodies, and the most lavish light show Costello has yet to tour with, the segueing of "Lipstick Vogue" into "Watching the Detectives" revealed Elvis gathering insight into another aspect of his revival technique, providing the audience with a defiant brand of post psychedelic music. This notion also splashed into the opening, disjointed version of "Waiting for the End of the World." It arrived as an excellent aural interpretation of a lyrical idea. |
Latest revision as of 17:41, 13 July 2020
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