Sydney Morning Herald, November 26, 2004: Difference between revisions
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<center><h3> Elvis Costello and the Imposters | <center><h3> Elvis Costello and the Imposters</h3></center> | ||
<center>''' State Theatre ''' / November 24 </center> | |||
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<center> Bernard Zuel </center> | <center> Bernard Zuel </center> | ||
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{{Bibliography text}} | {{Bibliography text}} | ||
In a recent | In a recent [[Interview magazine, October 2004|interview]] Elton John conducted with Elvis Costello, the rejuvenated John (whose two-decade slump ended three years ago when he once again tapped into the spirit of his early, best, music) said this: "With certain older records you can't even describe what it is that makes them sound so unique, whether it's the studio or the group of musicians. Those elements just had a way of working in conjunction with one another." | ||
As with the finest records, there's an ineffable alchemy at the core of the best shows which comes to define them. You can point to a high standard of playing or songwriting or sound and say that's why it works. And you'd be half-right: the cerebral half. | As with the finest records, there's an ineffable alchemy at the core of the best shows which comes to define them. You can point to a high standard of playing or songwriting or sound and say that's why it works. And you'd be half-right: the cerebral half. | ||
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But what marks them out in concert now, three years into their partnership (when the American Farragher joined the long-established English trio) is feel. Over and around the brain of these songs is the blood, bone and sweat of a group so in tune with the music and each other that matters flow without thinking. | But what marks them out in concert now, three years into their partnership (when the American Farragher joined the long-established English trio) is feel. Over and around the brain of these songs is the blood, bone and sweat of a group so in tune with the music and each other that matters flow without thinking. | ||
And that's true whether it is rugged as in the thumping simplicity of [[Uncomplicated]] and the slashing pinpoints of [[Needle Time]], very danceable as in [[13 Steps Lead Down]] and [[I Can't Stand Up For Falling Down]] or more sensitive as in the delicacy of [[Heart Shaped Bruise]] (coming out of a lovely [[Good Year For The Roses]] and featuring "Daveylou" Farragher standing in for | And that's true whether it is rugged as in the thumping simplicity of "[[Uncomplicated]]" and the slashing pinpoints of "[[Needle Time]]," very danceable as in "[[13 Steps Lead Down]]" and "[[I Can't Stand Up For Falling Down]]" or more sensitive as in the delicacy of "[[Heart Shaped Bruise]]" (coming out of a lovely "[[Good Year For The Roses]]" and featuring "Daveylou" Farragher standing in for Emmylou Harris on backing vocals) and "[[Nothing Clings Like Ivy]]." | ||
In the company of a new batch of songs steeped in, but not simply beholden to, the basics of rock'n'roll in post-war rhythm and blues and unfussed country, this approach makes Costello's less refined guitar playing - where angularity, tone and absence where necessary are key - not just appropriate but vital. | In the company of a new batch of songs steeped in, but not simply beholden to, the basics of rock 'n' roll in post-war rhythm and blues and unfussed country, this approach makes Costello's less refined guitar playing - where angularity, tone and absence where necessary are key - not just appropriate but vital. | ||
It also positively encourages moves such as the rolling thunder of the uninterrupted opening four songs (which climaxed in a throbbing-vein-in-the-temple version of [[Radio, Radio|Radio Radio]]); the perfectly judged | It also positively encourages moves such as the rolling thunder of the uninterrupted opening four songs (which climaxed in a throbbing-vein-in-the-temple version of [[Radio, Radio|Radio Radio]]); the perfectly judged Johnny Cash walking rhythm of "[[Hidden Shame]]" (which Costello wrote for Cash) alongside the southern soul touches in "[[Either Side Of The Same Town]]" and Peter Green's "[[Love That Burns]]"; and the pairing of Dave Bartholomew's 1954 New Orleans stomper "[[The Monkey|Monkey]]" with its "answer song", Costello's own "[[Monkey To Man]]." | ||
To get this energy and thought matched by feel meant that this 30-plus song, 2-hour show, including an hour-long encore which was in effect a more energised second set, never felt anything but pulsating. It was a great rock (and country, and rhythm and blues) band playing great rock (and country, and rhythm and blues) songs. Sounds simple doesn't it? Hardly. | To get this energy and thought matched by feel meant that this 30-plus song, 2-hour show, including an hour-long encore which was in effect a more energised second set, never felt anything but pulsating. It was a great rock (and country, and rhythm and blues) band playing great rock (and country, and rhythm and blues) songs. Sounds simple doesn't it? Hardly. | ||
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==External links== | ==External links== | ||
*[http://www. | *[http://www.smh.com.au/ SMH.com.au] | ||
*[http://en.wikipedia.org/wiki/Sydney_Morning_Herald Wikipedia: Sydney Morning Herald] | *[http://en.wikipedia.org/wiki/Sydney_Morning_Herald Wikipedia: Sydney Morning Herald] | ||
*[http://www.elviscostello.info/articles/s/sydney_morning_herald.041126.php elviscostello.info] | |||
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[[Category:Bibliography 2004 | [[Category:Bibliography]] | ||
[[Category:Bibliography 2004]] | |||
[[Category:Sydney Morning Herald| Sydney Morning Herald 2004-11-26]] | [[Category:Sydney Morning Herald| Sydney Morning Herald 2004-11-26]] | ||
[[Category:Newspaper articles | [[Category:Newspaper articles]] | ||
[[Category:2004 concert reviews | [[Category:2004 concert reviews]] | ||
Revision as of 03:26, 30 November 2014
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