Sounds, January 17, 1981: Difference between revisions
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Then on run Bruce and Pete for 'Accidents Will Happen' and the pace gets more hysterical as more and more songs in the Official '80s Dance-beat follow on recklessly, provoctively; Farmer Elvis flinging himself into ringing, wiry, passionate guitar breaks over the Attractions' hard, brilliant backing, still managing to shine through the murky sound (my old Dansette used to be better, I swear). | Then on run Bruce and Pete for 'Accidents Will Happen' and the pace gets more hysterical as more and more songs in the Official '80s Dance-beat follow on recklessly, provoctively; Farmer Elvis flinging himself into ringing, wiry, passionate guitar breaks over the Attractions' hard, brilliant backing, still managing to shine through the murky sound (my old Dansette used to be better, I swear). | ||
Though there's enough oldies to generate enough apeshit reaction to fertilise the entire California basin, about a third of the set is new stuff, presumably from the next album. | Though there's enough oldies to generate enough apeshit reaction to fertilise the entire California basin, about a third of the set is new stuff, presumably from the next album. A nation getting used to its new conservatism will be relieved to hear that there's no radical departure here from the old EC sound we know and love (though a lot of the subtleties of something you're hearing for the first time get drowned in this arena's despicable sound system). Clubland's a passionate song accompanied by a moving star-and-sky backdrop - how's that for showmanship - 'Love Is Work' (or maybe 'Love Is War', couldn't work out which, though both sound very Costello, what with his tendency to make love and spit daggers all at the same time in his songs). | ||
'Radio, Radio' gets dedicated to radio station "delinquents who went from disco to country", the bespectacled hand-biter sounding like any jukebox in the Bible Belt with his wonderfully schmaltzy rendition of 'But She's Not You', lush and lovely and almost over-the-top. I like Elvis best when he gets slushy and sings about women. The crowd - on its feet from note one - begged to differ and was itching for the frantic, restless numbers, most of which had at least the approximation of a jaunty little quickstep chucked in by out star. | |||
Another new, slow one (something about little sisters wanting to try on big sister's clothes) finished the set as it began; low, caressing and brooding with a kick inside. | |||
Last time no amount of pleading would bring him back for more. This time we had ''five encores!'' Glenn Tilbrook of Squeeze joined in on guitar and vocals for 'Waiting Too Long' (underlining my new theory that Squeeze are fine musicians but lacking in the focus to be a good band without a dynamic frontman). Then 'Alison', a more bouncy version than usual, and 'Watching The Detectives', nothing short of brilliant, with Elvis coming off as Soul Man, managing to stick in a verse or two of Stevie Wonder's 'Master Blaster' before the song is over. Back again for a victorious 'Can't Stand Up For Falling Down' and - this is definitely going to ruin his Nasty Bugger image - a fifth intense 'Pump It Up' with the whole hall sweating. Must have made a real mess of his nice tweed suit, dancing like a tight rubber band that's just been snapped. Whatever's in those pills, he should keep taking them, because a happy Elvis puts on one wonderful show. (PS. Fire the soundman.) | |||
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[[Category:Magazine articles]] | [[Category:Magazine articles]] | ||
[[Category:1981 concert reviews]] | [[Category:1981 concert reviews]] | ||
Revision as of 18:58, 23 January 2023
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