Trouser Press, November 1980: Difference between revisions
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{{Bibliography header}} | {{Bibliography header}} | ||
{{Bibliography index}} | {{:Bibliography index}} | ||
{{Trouser Press index}} | {{:Trouser Press index}} | ||
{{ | {{:US rock magazines index}} | ||
{{Bibliography article header}} | {{Bibliography article header}} | ||
<center><h3> Déjà | <center><h3> Déjà vu </h3></center> | ||
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<center> Richard Grabel </center> | <center> Richard Grabel </center> | ||
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''' Only the bands have changed at the Heatwave Festival | |||
{{Bibliography text}} | {{Bibliography text}} | ||
When the mode of music changes, the walls of the city don't necessarily shake. For proof, there was the Heatwave Festival, held August 23rd at Mosport Park, about 50 miles outside Toronto. The promoters publicized this event as the first new wave rock festival to be held in North America — the first great cataclysmic music event of the '80s. Punkstock! | When the mode of music changes, the walls of the city don't necessarily shake. For proof, there was the Heatwave Festival, held August 23rd at Mosport Park, about 50 miles outside Toronto. The promoters publicized this event as the first new wave rock festival to be held in North America — the first great cataclysmic music event of the '80s. Punkstock! | ||
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Costello moves from the heavily guarded band area to the stage in the back of a black Cadillac to watch Rockpile. Chrissie Hynde walks to the stage but runs off when a video crew approaches. "It's just pictures, just pictures," they call after her. Infamous Costello manager Jake Riviera rushes around playing bully-boy and threatening dire harm to anyone caught taking his boy's picture. Paranoia fills the air, good times soured by manipulation. | Costello moves from the heavily guarded band area to the stage in the back of a black Cadillac to watch Rockpile. Chrissie Hynde walks to the stage but runs off when a video crew approaches. "It's just pictures, just pictures," they call after her. Infamous Costello manager Jake Riviera rushes around playing bully-boy and threatening dire harm to anyone caught taking his boy's picture. Paranoia fills the air, good times soured by manipulation. | ||
Back out into the audience for Holly and the Italians, and I start to feel good again. A relatively unknown and unannounced addition to the bill, they are the first group | Back out into the audience for Holly and the Italians, and I start to feel good again. A relatively unknown and unannounced addition to the bill, they are the first group to come across with spontaneity and a feeling you can't get from rehearsals. Their sound is bright, snappy punk-pop — just as derivative in its way as the Rumour or Teenage Head — but played proudly, as if they'd developed it on their own. Holly is the first singer of the day who doesn't appear to be thrown by the crowd. | ||
"Dancing with a Boy Like You" and "Close To Someone" are silly, throwaway pop sparked by the right spirit and Holly's guitar playing and with plenty of room left in the songs to be unpredictable. "Tell That Girl To Shut Up" is obvious homage to the Ramones but the borrowing is enthusiastic, and done with flair. People around me keep asking, "Who is this band?" | "Dancing with a Boy Like You" and "Close To Someone" are silly, throwaway pop sparked by the right spirit and Holly's guitar playing and with plenty of room left in the songs to be unpredictable. "Tell That Girl To Shut Up" is obvious homage to the Ramones but the borrowing is enthusiastic, and done with flair. People around me keep asking, "Who is this band?" | ||
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The fans are mostly the North American rock audience you'd expect at any such event. This being Canada, they are a bit more blonde and healthy looking. There are rock fans with coolers of beer and frisbees; lots of hippies; and a smattering of punks, some with dyed hair, some sweltering in leather. There are even a few skinny ties. | The fans are mostly the North American rock audience you'd expect at any such event. This being Canada, they are a bit more blonde and healthy looking. There are rock fans with coolers of beer and frisbees; lots of hippies; and a smattering of punks, some with dyed hair, some sweltering in leather. There are even a few skinny ties. | ||
The performers crack a lot of Woodstock jokes and a few Clash jokes (they had been advertised to play but canceled). Nick Lowe advises, "Watch out for the brown acid." Fred Schneider of the B-52's says, "I'd like to announce that three babies have been born here today and they've all been named Heatwave." Martin Belmont introduced "Just Another Whistle Stop" as "a Joe Strummer song." Elvis Costello steps up to the mike and announces, "Hello, we're the Clash." ''[Whatta sense of humor. — Ed.]'' | The performers crack a lot of Woodstock jokes and a few Clash jokes (they had been advertised to play but canceled). Nick Lowe advises, "Watch out for the brown acid." Fred Schneider of the B-52's says, "I'd like to announce that three babies have been born here today and they've all been named Heatwave." Martin Belmont introduced "Just Another Whistle Stop" as "a Joe Strummer song." Elvis Costello steps up to the <!-- mike --> mic and announces, "Hello, we're the Clash." ''[Whatta sense of humor. — Ed.]'' | ||
The Pretenders waste half their set warming up. Chrissie Hynde is stiff at first, afraid to let go. Her band is coldly professional; they know their moves but not the reasons for making them. The expertise works on the album, where it sounds like care and craft, but live — when emotion counts — it falls flat. | The Pretenders waste half their set warming up. Chrissie Hynde is stiff at first, afraid to let go. Her band is coldly professional; they know their moves but not the reasons for making them. The expertise works on the album, where it sounds like care and craft, but live — when emotion counts — it falls flat. | ||
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Talking Heads, however, supply the first surprise and only real news of the day by debuting their new format: a nine-piece outfit veering sharply away from their old sound and into funk. They begin with the old line-up plus guitarist Adrian Belew, and get "Psycho Killer" out of the way straight off. Byrne is no longer the whacko preppie spraying spittle over the front rows, acting so awkward and nervous we worry how he'll make it through the next song. Now he seems so calm and collected he could almost be under hypnosis. | Talking Heads, however, supply the first surprise and only real news of the day by debuting their new format: a nine-piece outfit veering sharply away from their old sound and into funk. They begin with the old line-up plus guitarist Adrian Belew, and get "Psycho Killer" out of the way straight off. Byrne is no longer the whacko preppie spraying spittle over the front rows, acting so awkward and nervous we worry how he'll make it through the next song. Now he seems so calm and collected he could almost be under hypnosis. | ||
After a couple of numbers the stage fills with people: Bernie Worrell, ex-Funkadelic, on keyboards; bassist Busta Cherry Jones; vocalist | After a couple of numbers the stage fills with people: Bernie Worrell, ex-Funkadelic, on keyboards; bassist Busta Cherry Jones; vocalist Dolette McDonald and Steven Scale on percussion. The Talking Heads Pan-Cultural Funk Orchestra lurches into "I Zimbra" and "Cities," throwing up cross-currents of rhythm. The stage is full of dancing and motion, except for Byrne, who stands calmly in the eye of the storm. Most of the newcomers are grouped on the left-hand side not just playing their instruments but dancing and funkin' around; in contrast, the original Talking Heads concentrate on the music. Worrell swoops over his keyboards, Jones and Tiny Weymouth provide double-punch bass, guitars mesh and move around each other. "We're not the same as we used to be," Byrne says, understating as usual. Talk about a full sound! | ||
Some of the material disappoints through lack of daring: Most of the new songs attempt a simple groove but end up like tape loops, spinning endlessly. Byrne is searching for a synthesis of disco, funk and various ethnic trance-musics, and hasn't quite found it yet. Jones' bass is mechanical and heavy-handed; Weymouth, who followed him, didn't exhibit her sharp contrapuntal sense. This is the "new" Heads' first time out, though, and when they work out the bugs it's going to be incredible. | Some of the material disappoints through lack of daring: Most of the new songs attempt a simple groove but end up like tape loops, spinning endlessly. Byrne is searching for a synthesis of disco, funk and various ethnic trance-musics, and hasn't quite found it yet. Jones' bass is mechanical and heavy-handed; Weymouth, who followed him, didn't exhibit her sharp contrapuntal sense. This is the "new" Heads' first time out, though, and when they work out the bugs it's going to be incredible. | ||
As it is, the audience goes bananas. "Take Me to the River" is perfect in this setting, MacDonald's wailing soul vocals setting the right mood for Byrne to slip into. "Life During Wartime" is the topper, with everyone onstage pumping out a continuous, singleminded flow of sound. A large group of hardcore fans up front shout out the chorus at the top of their lungs: "This ain't no party, this ain't no disco." Byrne hears them and makes a face that says, "Hmmm, impressive." And it is. | As it is, the audience goes bananas. "Take Me to the River" is perfect in this setting, MacDonald's wailing soul vocals setting the right mood for Byrne to slip into. "Life During Wartime" is the topper, with everyone onstage pumping out a continuous, singleminded flow of sound. A large group of hardcore fans up front shout out the chorus at the top of their lungs: ''"This ain't no party, this ain't no disco."'' Byrne hears them and makes a face that says, "Hmmm, impressive." And it is. | ||
After the Talking Heads revue, Elvis Costello lives up to expectations and then some. His set is powerful and mostly familiar, ranging through all his albums (though short-changing the last one slightly). The Attractions keep getting hotter, and are definitely pouring it on for this crowd. They blast, they pound; their wall of sound keeps getting higher and more solid. Bruce Thomas turns his bass into a lead instrument. Steve Nieve plays his fingers off, sounding like five organs at once. They are all unstoppable. | After the Talking Heads revue, Elvis Costello lives up to expectations and then some. His set is powerful and mostly familiar, ranging through all his albums (though short-changing the last one slightly). The Attractions keep getting hotter, and are definitely pouring it on for this crowd. They blast, they pound; their wall of sound keeps getting higher and more solid. Bruce Thomas turns his bass into a lead instrument. Steve Nieve plays his fingers off, sounding like five organs at once. They are all unstoppable. | ||
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Color codes forever. | Color codes forever. | ||
''Reprinted courtesy of ''New Musical Express | ''Reprinted courtesy of ''New Musical Express | ||
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{{Bibliography notes}} | {{Bibliography notes}} | ||
{{Bibliography next | |||
|prev = Trouser Press Collectors' Magazine, July 1980 | |||
|next = Trouser Press, February 1981 | |||
}} | |||
'''Trouser Press, No. 56, November 1980 | '''Trouser Press, No. 56, November 1980 | ||
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[[Richard Grabel]] reports on the [[Heatwave Festival]], Saturday, [[Concert 1980-08-23 Bowmanville|August 23, 1980]], Bowmanville, | [[Richard Grabel]] reports on the [[Heatwave Festival]], Saturday, [[Concert 1980-08-23 Bowmanville|August 23, 1980]], Bowmanville, Ontario, Canada. {{t}}<span style="font-size:92%">(reprinted from ''[[New Musical Express, September 6, 1980|NME]]''.)</span> | ||
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[[Ira Robbins]] reviews ''[[Taking Liberties]]''. | [[Ira Robbins]] reviews ''[[Taking Liberties]]''. | ||
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[[image:1980-11-00 Trouser Press | [[image:1980-11-00 Trouser Press page 25.jpg|x160px]]{{t}} | ||
[[image:1980-11-00 Trouser Press page | [[image:1980-11-00 Trouser Press page 26.jpg|x160px]]{{t}} | ||
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<br><small>Page scans.</small> | |||
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{{Bibliography box}} | {{Bibliography box}} | ||
<center><h3> Taking Liberties </h3> </center> | <center><h3> Taking Liberties </h3> </center> | ||
<center>''' Elvis Costello </center> | |||
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<center> Ira Robbins </center> | <center> Ira Robbins </center> | ||
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{{Bibliography text}} | {{Bibliography text}} | ||
[[image:1980-11-00 Trouser Press page 42.jpg|130px|right]] | |||
Here's Elvis — between albums, conceding the Attractions a part-time solo career, still waiting for America to forgive him for insulting Ray Charles, refusing to tour this country and inscrutable as ever — with 20 | Here's Elvis — between albums, conceding the Attractions a part-time [[The Attractions: Mad About The Wrong Boy|solo]] career, still waiting for America to forgive him for insulting Ray Charles, refusing to tour this country and inscrutable as ever — with 20 tracks of marginalia to keep the fires burning until a new studio LP can be unleashed come the new year. Costello maniacs will already own the bulk of this record; for the rest, this is almost entirely first-run. | ||
The songs here, besides a tribute to El's abundant creativity, are the result of manager Jake Riviera's neurotic need to torment American fans with English B-sides, limited editions and promo records that are difficult-to-impossible to obtain. ''Taking Liberties'' provides a valuable service (especially considering collectors' prices) in cleaning out the bewildering back catalogue of Costello releases on Stiff, Radar and F-Beat. | The songs here, besides a tribute to El's abundant creativity, are the result of manager Jake Riviera's neurotic need to torment American fans with English B-sides, limited editions and promo records that are difficult-to-impossible to obtain. ''Taking Liberties'' provides a valuable service (especially considering collectors' prices) in cleaning out the bewildering back catalogue of Costello releases on Stiff, Radar and F-Beat. | ||
The rundown: "Dr. Luther's Assistant," "Ghost Train" and "Just a Memory" date from the recent EP that centered around "New Amsterdam." The preceding single ("High Fidelity") contributed two tracks from the flip of its 12-inch version: an alternate "Clowntime Is Over" and "Getting Mighty Crowded." Some old B-sides — "Radio Sweetheart," "Big Tears," "Tiny Steps" and "My Funny Valentine" — are here, as is a newer one, "Girls Talk." Also included are some LP tracks lost in the trans-Atlantic crossing: "(I Don't Want to Go to) Chelsea," "Night Rally" and "Sunday's Best." "Crawling to the USA" comes from the Americathon soundtrack; "Stranger in the House" was half a giveaway 45 that came with the UK edition of This Year's Model; "Talking in the Dark" and "Wednesday Week" were originally coupled as a freebie UK 45. That leaves three tracks unaccounted for. Sure enough, we get (drumroll) three previously unreleased — anywhere! — songs: the legendary (and widely bootlegged in an early form) "Hoover Factory," a new one on me called "Clean Money" and a redone "Black and White World" (from ''Get Happy!!''). | The rundown: "Dr. Luther's Assistant," "Ghost Train" and "Just a Memory" date from the recent EP that centered around "New Amsterdam." The preceding single ("High Fidelity") contributed two tracks from the flip of its 12-inch version: an alternate "Clowntime Is Over" and "Getting Mighty Crowded." Some old B-sides — "Radio Sweetheart," "Big Tears," "Tiny Steps" and "My Funny Valentine" — are here, as is a newer one, "Girls Talk." Also included are some LP tracks lost in the trans-Atlantic crossing: "(I Don't Want to Go to) Chelsea," "Night Rally" and "Sunday's Best." "Crawling to the USA" comes from the ''Americathon'' soundtrack; "Stranger in the House" was half a giveaway 45 that came with the UK edition of ''This Year's Model''; "Talking in the Dark" and "Wednesday Week" were originally coupled as a freebie UK 45. That leaves three tracks unaccounted for. Sure enough, we get (drumroll) three previously unreleased — anywhere! — songs: the legendary (and widely bootlegged in an early form) "Hoover Factory," a new one on me called "Clean Money" and a redone "Black and White World" (from ''Get Happy!!''). | ||
If you've followed Costello, you pretty much know this album already. Suffice to say, this is prime stuff — as good as any of his preplanned albums, and certainly more consistent than ''Get Happy!!'''s 20 maybes. Far from being basement tapes or a "History of," ''Taking Liberties'' provides further proof (if any were needed) of Costello's talent. Get it! | If you've followed Costello, you pretty much know this album already. Suffice to say, this is prime stuff — as good as any of his preplanned albums, and certainly more consistent than ''Get Happy!!'''s 20 maybes. Far from being basement tapes or a "History of," ''Taking Liberties'' provides further proof (if any were needed) of Costello's talent. Get it! | ||
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<br><small>Cover.</small> | |||
{{Bibliography notes footer}} | {{Bibliography notes footer}} | ||
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*[http://www.trouserpress.com/magazine/issue_pop.php?i=56 TrouserPress.com] | *[http://www.trouserpress.com/magazine/issue_pop.php?i=56 TrouserPress.com] | ||
*[http://en.wikipedia.org/wiki/Trouser_Press Wikipedia: Trouser Press] | *[http://en.wikipedia.org/wiki/Trouser_Press Wikipedia: Trouser Press] | ||
*[https://www.facebook.com/pg/trouserpressmagazine/photos/?tab=album&album_id=847723848703769 Facebook: Trouser Press] | |||
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[[Category:Bibliography 1980 | [[Category:Bibliography]] | ||
[[Category:Bibliography 1980]] | |||
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[[Category:Magazine articles | [[Category:Magazine articles]] | ||
[[Category:1980 concert reviews | [[Category:1980 concert reviews]] | ||
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Latest revision as of 20:56, 3 December 2021
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