London Times, January 9, 1982: Difference between revisions

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{{:Bibliography index}}
{{:Bibliography index}}
{{:London Times index}}
{{:London Times index}}
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{{Bibliography article header}}
{{Bibliography article header}}
<center><h3> Elvis at his best </h3></center>
<center><h3> Elvis at his best </h3></center>
<center>''' Elvis Costello, RPO ''' / Albert Hall </center>
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<center> Richard Williams </center>
<center> Richard Williams </center>
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{{Bibliography text 0}}
''' Elvis Costello, RPO ''' / Royal Albert Hall
{{Bibliography text}}
Elvis Costello's rendezvous with the Royal Philharmonic Orchestra on Thursday seemed in prospect to be a typically courageous and provocative gesture by an artist renowned for his fruitful avoidance of convention. When it was over, despite the audience's noisy rapture, one was left with very mixed feelings indeed.


Elvis Costello’s rendezvous
For all his early relationship with rock's new wave, Costello has often shown an affinity with crooners and torch songs, perhaps thereby revealing a nostalgic fondness for the music of his father, the dance-band singer Ross MacManus. It was to be expected, then, that the orchestral resources would be turned in this direction, as well as towards that of his recent flirtation, with country music, and so it proved.  
with the Royal Philharmonic
Orchestra on Thursday
seemed in prospect to be a
typically courageous ' and  
provocative gesture by an
artist renowned . for his  
fruitful avoidance of conven-  
tion. When it was over,  
despite the audience’s noisy
rapture, one was left . with  
very mixed feelings indeed.  


For all his early relation-
After a first half in which he and his regular band, the Attractions, defeated the notorious acoustical deficiencies of the Albert Hall by concentrating on muted ballads (of which the new "Kid About It" and "Shabby Doll" were outstanding), the orchestral section began in a deeply distressing manner, with wholly unsuitable arrangements (by Robert Kirby, who also conducted) grafted on to some of Costello's finest, most complex songs.  
ship with rock’s new wave,  
Costello has .often shown an
affinity with crooners and
torch songs, perhaps thereby
revealing a nostalgic fond-
ness for the music of his
father, the dance-band singer
Rioss McManus. It was to be
expected, • then, that the  
orchestral resources would
be turned in this direction, as
well as towards that of his
recent flirtation, with country
music, and so it proved.  


After a first half in which
Sighing strings and comical low brass drew the sting from "Shot With His Own Gun," while prissy decorations cancelled the dramatic effect of slowing "I Can't Stand Up" to a crawl. Ineffably banal percussive effects trivialized "Watching the Detectives" (think what Bernard Herrman, in his "Psycho" vein, might have done with this song!), and there was a hilarious false start to "Sweet Dreams," caused, when Kirby and the steel guitarist, John McFee — neither of whom had the ball — sold each other a dummy.
he and his regular band, the  
Attractions, defeated the  
notorious acoustical de-
ficiencies of the -Albert Hall
by concentrating on muted
ballads (of which the new
“Kid About It’’ and /‘Shabby


Doll”were outstanding), the
The standard improved enormously when Costello moved on to the simpler contours of the country songs (notably "A Good Year for the Roses") and to his own brilliantly plain ballad, "Alison." Clearly encouraged by these appropriately medium-rare arrangements, and by the sheer musical mass, he produced the very best singing I have heard from him.
orchestral section began in a
deeply distressing manner,
with wholly unsuitable ar-
rangements (by Robert Kir-  
by, who also conducted)


That apart, it was really nothing special, and when one considers the work with similar resources of Burt Bacharach, Mike Stoller and many others, Costello seems to have been ill-advised and poorly served. At least it may now be out of his system.


grafted on to some of
{{cx}}
Costello’s finest, most com-
plex songs.
 
Sighing strings - 'and
 
comical low brass drew the
sting from “Shot With His
Own Gun”, while prissy
decorations cancelled the
dramatic effect of- slowing “T
Can’t Stand Up” to a crawl.
Ineffably banal percussive
effects trivialized '‘Watching
the Detectives” (think what
Bernard Herr man, in his
Psycho vein, might have done
with this song'.), and there
was a hilarious false start to
“Sweet Dreams”, caused,
when Kirby and the steel
guitarist, John McFee —
neither of whom had the ball'
— sold each other a dummy.’
 
The standard improved
enormously when Costello
moved on to the. simpler
contours of the country
songs (notably “A Good Year,
for the Roses”) and to his
own brilliantly plain ballad,
“Alison”. Clearly encouraged
by these appropriately
medium-rare arrangements,
and by the sheer musical
mass, he produced the very
best singing I have heard
from him.
 
That apart, : it was really
nothing special, and when
one considers the work with
similar resources of Burt
Bacharach,- Mike Stoller and
many, others, Costello seems
to have been ill-advised and
poorly' served. At least it may
now be out of his system.
 


{{tags}}[[Royal Albert Hall]] {{-}} [[London]] {{-}} [[The Attractions]] {{-}} [[John McFee]] {{-}} [[Royal Philharmonic Orchestra]] {{-}} [[Robert Kirby]] {{-}} [[Ross MacManus]] {{-}} [[Kid About It]] {{-}} [[Shabby Doll]] {{-}} [[Shot With His Own Gun]] {{-}} [[I Can't Stand Up For Falling Down]] {{-}} [[Watching The Detectives]] {{-}} [[Psycho]] {{-}} [[Sweet Dreams]] {{-}} [[Good Year For The Roses]] {{-}} [[Alison]] {{-}} [[Burt Bacharach]] {{-}} [[Mike Stoller]]
{{cx}}
{{cx}}


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{{Bibliography notes}}
{{Bibliography notes}}
{{Bibliography next
|prev = London Times, December 28, 1981
|next = London Times, June 24, 1984
}}
'''The Times, January 9, 1982
'''The Times, January 9, 1982
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{{Bibliography images}}


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{{Bibliography notes footer}}
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*[https://archive.org/stream/NewsUK1982UKEnglish/Jan%2009%201982%2C%20The%20Times%2C%20%2361127%2C%20UK%20%28en%29#page/n10/mode/1up/ archive.org]
*[https://archive.org/stream/NewsUK1982UKEnglish/Jan%2009%201982%2C%20The%20Times%2C%20%2361127%2C%20UK%20%28en%29#page/n10/mode/1up/ archive.org]


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[[Category:Bibliography]]
[[Category:Bibliography]]
[[Category:Bibliography 1982]]
[[Category:Bibliography 1982]]
[[Category:London Times| London Times 1982-01-91]]
[[Category:London Times| London Times 1982-01-09]]
[[Category:Newspaper articles]]
[[Category:Newspaper articles]]
[[Category:1982 concert reviews]]
[[Category:1982 concert reviews]]
[[Category:Almost Blue, Almost '82 Tour|~London Times 1982-01-91]]
[[Category:Almost Blue, Almost '82 Tour|~London Times 1982-01-09]]

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London Times

UK & Ireland newspapers

-

Elvis at his best


Richard Williams

Elvis Costello, RPO / Royal Albert Hall

Elvis Costello's rendezvous with the Royal Philharmonic Orchestra on Thursday seemed in prospect to be a typically courageous and provocative gesture by an artist renowned for his fruitful avoidance of convention. When it was over, despite the audience's noisy rapture, one was left with very mixed feelings indeed.

For all his early relationship with rock's new wave, Costello has often shown an affinity with crooners and torch songs, perhaps thereby revealing a nostalgic fondness for the music of his father, the dance-band singer Ross MacManus. It was to be expected, then, that the orchestral resources would be turned in this direction, as well as towards that of his recent flirtation, with country music, and so it proved.

After a first half in which he and his regular band, the Attractions, defeated the notorious acoustical deficiencies of the Albert Hall by concentrating on muted ballads (of which the new "Kid About It" and "Shabby Doll" were outstanding), the orchestral section began in a deeply distressing manner, with wholly unsuitable arrangements (by Robert Kirby, who also conducted) grafted on to some of Costello's finest, most complex songs.

Sighing strings and comical low brass drew the sting from "Shot With His Own Gun," while prissy decorations cancelled the dramatic effect of slowing "I Can't Stand Up" to a crawl. Ineffably banal percussive effects trivialized "Watching the Detectives" (think what Bernard Herrman, in his "Psycho" vein, might have done with this song!), and there was a hilarious false start to "Sweet Dreams," caused, when Kirby and the steel guitarist, John McFee — neither of whom had the ball — sold each other a dummy.

The standard improved enormously when Costello moved on to the simpler contours of the country songs (notably "A Good Year for the Roses") and to his own brilliantly plain ballad, "Alison." Clearly encouraged by these appropriately medium-rare arrangements, and by the sheer musical mass, he produced the very best singing I have heard from him.

That apart, it was really nothing special, and when one considers the work with similar resources of Burt Bacharach, Mike Stoller and many others, Costello seems to have been ill-advised and poorly served. At least it may now be out of his system.


Tags: Royal Albert HallLondonThe AttractionsJohn McFeeRoyal Philharmonic OrchestraRobert KirbyRoss MacManusKid About ItShabby DollShot With His Own GunI Can't Stand Up For Falling DownWatching The DetectivesPsychoSweet DreamsGood Year For The RosesAlisonBurt BacharachMike Stoller

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<< >>

The Times, January 9, 1982


Richard Williams reviews Elvis Costello & The Attractions with John McFee and the Royal Philharmonic Orchestra, Thursday, January 7, 1982, Royal Albert Hall, London, England.

Images

1982-01-09 London Times page 11 clipping 01.jpg
Clipping.

Page scan.
1982-01-09 London Times page 11.jpg

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