University Of Georgia Red & Black, November 29, 1977: Difference between revisions
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In the lobby, the concert-goer got another pleasant surprise: Sire was handing out a neat eight song LP commemorating the four New Wave albums it released last month (including the Talking Heads debut). It was a nice touch — and it showed that the record companies, at least, are taking New Wave music seriously. | In the lobby, the concert-goer got another pleasant surprise: Sire was handing out a neat eight song LP commemorating the four New Wave albums it released last month (including the Talking Heads debut). It was a nice touch — and it showed that the record companies, at least, are taking New Wave music seriously. | ||
The audience proved to be something of a change of pace, too. It was not the usual Atlanta crowd. For one thing, it was older (mid-20s), and for another, it was rather gaudily, garbed in places. Quite a few people looked like they'd been waiting for something to do since the last time Lou Reed passed through town. | The audience proved to be something of a change of pace, too. It was not the usual Atlanta crowd. For one thing, it was older (mid-20s), and for another, it was rather gaudily, garbed in places. Quite a few people looked like they'd been waiting for something to do since the last time Lou Reed passed through town. | ||
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It didn't matter. Costello banged into the first chord of "Welcome to the Working Week" and proceeded to deliver a solid hour of potent rock and roll, coupled with one of the eeriest displays of stage presence ever witnessed. | It didn't matter. Costello banged into the first chord of "Welcome to the Working Week" and proceeded to deliver a solid hour of potent rock and roll, coupled with one of the eeriest displays of stage presence ever witnessed. | ||
Costello is a frustrated human being. He prowls about the stage, he pounds his guitar, he grabs the microphone and croons (!) to the audience, he stares at photographers, or he stands in place, spitting out lyrics and guitar chords, all the while his right leg twitching as if it had a life of its own. | Costello is a frustrated human being. He prowls about the stage, he pounds his guitar, he grabs the microphone and croons (!) to the audience, he stares at photographers, or he stands in place, spitting out lyrics and guitar chords, all the while his right leg twitching as if it had a life of its own. | ||
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It isn't really necessary to name any particular songs. The whole performance was as inspired a workout as anyone is going to hear for quite a while. Maybe the coup de grace was the encore. Costello strolled out, carrying a green Gretsch monster that looked almost as big as he was, and slammed into "Mystery Dance." It was as close to magic as a performance gets, and Costello left the stage a hero with a standing ovation. | It isn't really necessary to name any particular songs. The whole performance was as inspired a workout as anyone is going to hear for quite a while. Maybe the coup de grace was the encore. Costello strolled out, carrying a green Gretsch monster that looked almost as big as he was, and slammed into "Mystery Dance." It was as close to magic as a performance gets, and Costello left the stage a hero with a standing ovation. | ||
Costello was a tough act to follow, and although the Capri tried to help out by playing more George Benson between sets, it proved too much for Talking Heads. | Costello was a tough act to follow, and although the Capri tried to help out by playing more George Benson between sets, it proved too much for Talking Heads. | ||
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In short, the Heads provided a sort of arty intellectual game, daring the audience to decide whether the band was being serious or not. I gave up trying to stay interested, but their fans ate it up (to be fair, they did get pretty good response from the crowd). As the old saw goes, there's no accounting for some people's taste. | In short, the Heads provided a sort of arty intellectual game, daring the audience to decide whether the band was being serious or not. I gave up trying to stay interested, but their fans ate it up (to be fair, they did get pretty good response from the crowd). As the old saw goes, there's no accounting for some people's taste. | ||
Before it started, the Capri evening was something of a gamble. It ended up a resounding success. It's hard to say for sure right now, but maybe Costello and Talking Heads are just what the doctor ordered for these days of Peter Frampton. Hey, I can dream, can't I? | Before it started, the Capri evening was something of a gamble. It ended up a resounding success. It's hard to say for sure right now, but maybe Costello and Talking Heads are just what the doctor ordered for these days of Peter Frampton. Hey, I can dream, can't{{nb}}I? | ||
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{{Bibliography notes}} | {{Bibliography notes}} | ||
{{Bibliography next | |||
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'''The Red and Black, November 29, 1977 | '''The Red and Black, November 29, 1977 | ||
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[[Michael Brochstein]] reviews Elvis Costello & [[The Attractions]] and [[Talking Heads]], Saturday, [[Concert 1977-11-26 Atlanta|November 26, 1977]], Capri Theatre, Atlanta, | [[Michael Brochstein]] reviews Elvis Costello & [[The Attractions]] and [[Talking Heads]], Saturday, [[Concert 1977-11-26 Atlanta|November 26, 1977]], Capri Theatre, Atlanta, Georgia. | ||
{{Bibliography images}} | {{Bibliography images}} | ||
[[image:1977-11-29 University Of Georgia Red & Black page 05 clipping 01.jpg| | [[image:1977-11-29 University Of Georgia Red & Black page 05 clipping 01.jpg|380px]] | ||
<br><small>Clipping.</small> | <br><small>Clipping.</small> | ||
<small>Page scan.</small><br> | |||
[[image:1977-11-29 University Of Georgia Red & Black page 05.jpg|x120px|border]] | [[image:1977-11-29 University Of Georgia Red & Black page 05.jpg|x120px|border]] | ||
{{Bibliography notes footer}} | {{Bibliography notes footer}} |
Latest revision as of 15:54, 3 July 2021
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