Sounds, August 30, 1980: Difference between revisions
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{{Bibliography header}} | {{Bibliography header}} | ||
{{Bibliography index}} | {{:Bibliography index}} | ||
{{Sounds | {{:Sounds index}} | ||
{{Bibliography article header}} | {{Bibliography article header}} | ||
<center><h3> Elvis gives blood (Almost) </h3></center> | <center><h3> Elvis gives blood (Almost) </h3></center> | ||
<center>''' Elvis Costello | <center>''' Elvis Costello ''' / Edinburgh </center> | ||
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<center> Johnny Waller </center> | <center> Johnny Waller </center> | ||
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An old 45 "The Frozen Years" proved to be the highlight of a thoroughly enjoyable 40 minutes, yet a slightly ropey reading of "Have You Seen My Baby" (as performed by everyone and his uncle, including Ringo Starr) and the soulful "I Don't Want The Night To End" also showed their wide range of ability and appeal. Obviously still looking for that extra spark of innovation, but they're no less satisfying for all that. | An old 45 "The Frozen Years" proved to be the highlight of a thoroughly enjoyable 40 minutes, yet a slightly ropey reading of "Have You Seen My Baby" (as performed by everyone and his uncle, including Ringo Starr) and the soulful "I Don't Want The Night To End" also showed their wide range of ability and appeal. Obviously still looking for that extra spark of innovation, but they're no less satisfying for all that. | ||
The interminable chatter all around me is finally silenced by the dimming of the house lights. Three thousand strangled cheers greet a lone spot angled on the centre stage figure draped over his guitar. To a solitary haunting piano backing, Elvis Costello delivers his opening salvo – "Shot By His Own Gun," a new opus of | The interminable chatter all around me is finally silenced by the dimming of the house lights. Three thousand strangled cheers greet a lone spot angled on the centre stage figure draped over his guitar. To a solitary haunting piano backing, Elvis Costello delivers his opening salvo – "Shot By His Own Gun," a new opus of stunning simplicity and compassion. Its tender approach (vocally/instrumentally) will immediately draw comparisons with "Alison," but I believe that, if anything, "Shot" is the more genuinely moving song. | ||
Pause. I need space to think; gather my thoughts before I lose my perspective. To begin such a prestigious show with a new song – no, not just a new song, a different style of presentation (no guitar, no bass, no drums) – is a brave challenge, with no guarantee of success. Their emotion is not easily encapsulated within the contemporary music idiom, but Costello had hushed the crowd, leaving them vulnerable. He was ready to strike. | Pause. I need space to think; gather my thoughts before I lose my perspective. To begin such a prestigious show with a new song – no, not just a new song, a different style of presentation (no guitar, no bass, no drums) – is a brave challenge, with no guarantee of success. Their emotion is not easily encapsulated within the contemporary music idiom, but Costello had hushed the crowd, leaving them vulnerable. He was ready to strike. | ||
Bang. Bang. The two Thomases (Pete drums, Bruce bass) run on stage and fire into "Accidents Will Happen" and "On The Beat," sending the audience into a delirious frenzy of bodily response. The Attractions form such a brilliant cohesive unit that Elvis now claims more freedom to reach out. His guitar playing is all too often sadly overlooked, but tonight his flurry-attack (outstandingly effective on "Don't Want To Go To Chelsea") is gloriously intense. | Bang. Bang. The two Thomases ([[Pete Thomas|Pete]] drums, [[Bruce Thomas|Bruce]] bass) run on stage and fire into "Accidents Will Happen" and "On The Beat," sending the audience into a delirious frenzy of bodily response. The Attractions form such a brilliant cohesive unit that Elvis now claims more freedom to reach out. His guitar playing is all too often sadly overlooked, but tonight his flurry-attack (outstandingly effective on "Don't Want To Go To Chelsea") is gloriously intense. | ||
Half hidden, half hiding,the unsung star is doubtlessly Steve Naive whose precise empathy on piano and keyboards served to illustrate perfectly the lyrical insights of the material. Without exception, his deftness and flair were prime components for alternately tranquil beauty and stifling intensity. | Half hidden, half hiding, the unsung star is doubtlessly [[Steve Nieve|Steve Naive]] whose precise empathy on piano and keyboards served to illustrate perfectly the lyrical insights of the material. Without exception, his deftness and flair were prime components for alternately tranquil beauty and stifling intensity. "Green Shirts," taken slightly faster than on record, and "Club Land" (perhaps a future single) hinged magnificently on his contributions. | ||
Choosing standout moments becomes almost futile with such a performance of all-round composure and spirit. The third new composition, "You'll Never Be A Man" with its (possibly) self-deprecating lyrics recalls the emotional tussle of the first album, followed by "Oliver's Army" and an elongated "Watching The Detectives," both satisfying the paying customers without descending to parody level. | Choosing standout moments becomes almost futile with such a performance of all-round composure and spirit. The third new composition, "You'll Never Be A Man" with its (possibly) self-deprecating lyrics recalls the emotional tussle of the first album, followed by "Oliver's Army" and an elongated "Watching The Detectives," both satisfying the paying customers without descending to parody level. | ||
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{{Bibliography notes}} | {{Bibliography notes}} | ||
{{Bibliography next | |||
|prev = Sounds, May 24, 1980 | |||
|next = Sounds, October 4, 1980 | |||
}} | |||
'''Sounds, August 30, 1980 | '''Sounds, August 30, 1980 | ||
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{{Bibliography images}} | {{Bibliography images}} | ||
[[image:1980-08-30 Sounds | [[image:1980-08-30 Sounds page 48.jpg|360px|border]] | ||
<br><small>Photo.</small><br> | <br><small>Page scan.</small> | ||
<small>Photo (from [[Concert 1980-07-12 Montreux|Montreux, July 12]]).</small><br> | |||
[[image:1980-08-30 Sounds photo 01.jpg|360px|border]] | |||
[[image:1980-08-30 Sounds cover.jpg|x120px|border]] | [[image:1980-08-30 Sounds cover.jpg|x120px|border]] | ||
<br><small>Cover.</small | <br><small>Cover.</small> | ||
{{Bibliography notes footer}} | {{Bibliography notes footer}} | ||
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*[http://www.elviscostello.info/articles/s/sounds.800830a.html elviscostello.info] | *[http://www.elviscostello.info/articles/s/sounds.800830a.html elviscostello.info] | ||
{{DEFAULTSORT:Sounds 1980-08-30}} | |||
[[Category:Bibliography 1980 | [[Category:Bibliography]] | ||
[[Category:Bibliography 1980]] | |||
[[Category:Sounds| Sounds 1980-08-30]] | [[Category:Sounds| Sounds 1980-08-30]] | ||
[[Category:Magazine articles | [[Category:Magazine articles]] | ||
[[Category:1980 concert reviews | [[Category:1980 concert reviews]] |
Revision as of 17:42, 13 July 2018
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