Toronto Globe and Mail, October 16, 1986: Difference between revisions
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Chicago — Elvis Costello Sings Again is the title of Costello's current U.S. mini-tour, which brought him to Chicago's Riviera Theatre Sunday, Monday and Tuesday. Fans of the British pop maestro may wonder when Costello ever stopped singing; with 12 albums (not including a best-of) in 10 years and two in the last six months, Costello still seems to be hurtling along at an absurdly prolific rate. | Chicago — Elvis Costello Sings Again is the title of Costello's current U.S. mini-tour, which brought him to Chicago's Riviera Theatre Sunday, Monday and Tuesday. Fans of the British pop maestro may wonder when Costello ever stopped singing; with 12 albums (not including a best-of) in 10 years and two in the last six months, Costello still seems to be hurtling along at an absurdly prolific rate. | ||
The name of the tour means something else, though. In February, when Costello released his polished and brooding ''King of America'' album, he announced he was reverting to his real name, Declan | The name of the tour means something else, though. In February, when Costello released his polished and brooding ''King of America'' album, he announced he was reverting to his real name, Declan MacManus. But this month, when his new album, ''Blood & Chocolate'', came out — featuring some of the nastiest and edgiest material since his first couple of records — it was again billed as an Elvis Costello and The Attractions LP. (Just to muddy the waters further, the songwriting was credited to a new Costello pseudonym, Napoleon Dynamite.) | ||
The tour, then, is a sort of historical summation of Costello's 10-year recording career, with different nights emphasizing different aspects of his songwriting style and personality. The spirit of the tour is intentionally cabaret. No theatre is supposed to be larger than 3,000 seats, and there is a deliberate self-mocking undertone to much of the presentation, including the program, which Costello wrote himself. | The tour, then, is a sort of historical summation of Costello's 10-year recording career, with different nights emphasizing different aspects of his songwriting style and personality. The spirit of the tour is intentionally cabaret. No theatre is supposed to be larger than 3,000 seats, and there is a deliberate self-mocking undertone to much of the presentation, including the program, which Costello wrote himself. | ||
For example, in Chicago Sunday night, Costello played with the band that backed him on the King of America tour — Southern rockabilly players, most notably former Elvis Presley guitarist James Burton. Monday night Costello offered The Spectacular Spinning Songbook; members of the audience were invited to spin a wheel full of titles and the band was obliged to play whatever came up. (Along with Costello originals, Monday's audience heard such songs as Prince's "Pop Life," Skeeter Davis's "The End of the World," and Gerry and The Pacemakers' "Ferry 'Cross The Mersey"). | For example, in Chicago Sunday night, Costello played with the band that backed him on the ''King of America'' tour — Southern rockabilly players, most notably former Elvis Presley guitarist James Burton. Monday night Costello offered The Spectacular Spinning Songbook; members of the audience were invited to spin a wheel full of titles and the band was obliged to play whatever came up. (Along with Costello originals, Monday's audience heard such songs as Prince's "Pop Life," Skeeter Davis's "The End of the World," and Gerry and The Pacemakers' "Ferry 'Cross The Mersey"). | ||
The masters of ceremonies were a couple of Chicago Bears (in Los Angeles, the emcees were Tom Waits and The Bangles; in San Francisco, Huey Lewis; the tour will continue to Boston, New York and Philadelphia). Audience members were invited to dance in go-go cages, sit in an on-stage living-room set, and watch TV (U.S. President Ronald Reagan making speeches while Costello sang "What's So Funny About Peace, Love and Understanding?") | The masters of ceremonies were a couple of Chicago Bears (in Los Angeles, the emcees were Tom Waits and The Bangles; in San Francisco, Huey Lewis; the tour will continue to Boston, New York and Philadelphia). Audience members were invited to dance in go-go cages, sit in an on-stage living-room set, and watch TV (U.S. President Ronald Reagan making speeches while Costello sang "What's So Funny About Peace, Love and Understanding?") | ||
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{{Bibliography notes}} | {{Bibliography notes}} | ||
{{Bibliography next | |||
|prev = Toronto Globe and Mail, November 4, 1978 | |||
|next = Toronto Globe and Mail, August 12, 1995 | |||
}} | |||
'''The Globe and Mail, October 16, 1986 | '''The Globe and Mail, October 16, 1986 | ||
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Latest revision as of 10:36, 10 June 2021
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