New Musical Express, November 5, 1977: Difference between revisions
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"Sex and drugs and rock and roll... sex and drugs and rock and roll... sex and drugs and rock and roll..." Hot damn, m'man, [[Concert 1977-10-22 Leicester| | "Sex and drugs and rock and roll... sex and drugs and rock and roll... sex and drugs and rock and roll..." Hot damn, m'man, Leicester University is jumpin' [[Concert 1977-10-22 Leicester|tonight]]. The hall is ass-to-ass jam-packed with sweaty people going ''boingggg-boingggg-boingggg'' to the deranged rhythm of Ian Dury's 77 [[Sex & Drugs & Rock & Roll|anthem]] to the joys of the Good Things In Life, all of them chanting manaically along to Himself's almost mantric invocation. | ||
"SEX!!! and DRUGS!!! and ROCK!!! and ROLL!!! SEX!!! and DRUGS!!! and ROCK!!! and ROLL!!! SEX!!! and DRUGS!!! and..." | "SEX!!! and DRUGS!!! and ROCK!!! and ROLL!!! SEX!!! and DRUGS!!! and ROCK!!! and ROLL!!! SEX!!! and DRUGS!!! and..." | ||
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Then there's a lady named Penny Tobin, who plays keyboards for Nick Lowe, and in the successive tiers we find Ian Dury And The Blockheads — that's the ineffable Dury himself plus [[Chas Jankel]] (guitar, keyboards), Norman Watt-Roy (bass), John Turnbull (guitar), [[Davey Payne]] (saxes), Charlie Charles (drums) and Mickey Gallagher (keyboards). | Then there's a lady named Penny Tobin, who plays keyboards for Nick Lowe, and in the successive tiers we find Ian Dury And The Blockheads — that's the ineffable Dury himself plus [[Chas Jankel]] (guitar, keyboards), Norman Watt-Roy (bass), John Turnbull (guitar), [[Davey Payne]] (saxes), Charlie Charles (drums) and Mickey Gallagher (keyboards). | ||
"Here's a scoop for you," Jake Riviera is to announce gleefully the following evening. "Mickey used to play for Peter Frampton and he co-wrote "Show Me The Way" | "Here's a scoop for you," Jake Riviera is to announce gleefully the following evening. "Mickey used to play for Peter Frampton and he co-wrote "Show Me The Way," which sold millions, right? So what's he doing grovelling for peanuts on a Stiff tour"? | ||
Well, it ain't exactly peanuts, Jake. Everybody gets 50 quid a week cash money, but at least one Stiff owed so much money to his cohorts — don't ask me what he spent it on, but it's probably what you'd've spent your bread on if you'd been him — that he ended up with a measly four quid in his pocket on payday after he'd paid back his debts. God, it's tough on the road. | Well, it ain't exactly peanuts, Jake. Everybody gets 50 quid a week cash money, but at least one Stiff owed so much money to his cohorts — don't ask me what he spent it on, but it's probably what you'd've spent your bread on if you'd been him — that he ended up with a measly four quid in his pocket on payday after he'd paid back his debts. God, it's tough on the road. | ||
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Kosmo and Wallis are awestruck, as well they might be. To go straight off the coach and slog for 15 minutes down to Woolworth's just on the offchance that there might be something good in the deletions rack and then come up with a find worth anywhere from five to fifteen quid in the London vinyl shylock emporia... listen, anyone out there still sceptical about the sheer, blinding, transcendent genius of Elvis Costello? | Kosmo and Wallis are awestruck, as well they might be. To go straight off the coach and slog for 15 minutes down to Woolworth's just on the offchance that there might be something good in the deletions rack and then come up with a find worth anywhere from five to fifteen quid in the London vinyl shylock emporia... listen, anyone out there still sceptical about the sheer, blinding, transcendent genius of Elvis Costello? | ||
Outside the [[Concert 1977-10-21 Manchester|Manchester Apollo]], the sign says "Live on stage at 7.30 ELVIS COSTELLO" | Outside the [[Concert 1977-10-21 Manchester|Manchester Apollo]], the sign says "Live on stage at 7.30 ELVIS COSTELLO." Clearly, they haven't gotten the message about the five-way democracy on this tour. Or rather ''four''-way: the fifth Greatest Stiff, [[Wreckless Eric]], is back home under doctor's orders. It is explained that, lacking the staying power of the veterans — the collective number of gigs under these guys' belts is astronomical — he threw himself into the touring lifestyle with such enthusiasm that he contracted chronic laryngitis. This means that a firm set order has to be adhered to. | ||
See, Pete Thomas is playing with both Elvis and Basher and Ian Dury plays with Wreckless as well as doing his own set. Therefore, neither of these two gents can do two consecutive sets, which means that the order can be either Wreckless-Lowe-Dury-Costello or Lowe-Wreckless-Costello-Dury (Costello and Dury being the only ones with enough rehearsed material to do the last set). Without Wreckless, the order is therefore Lowe-Dury-Costello. Got it? | See, Pete Thomas is playing with both Elvis and Basher and Ian Dury plays with Wreckless as well as doing his own set. Therefore, neither of these two gents can do two consecutive sets, which means that the order can be either Wreckless-Lowe-Dury-Costello or Lowe-Wreckless-Costello-Dury (Costello and Dury being the only ones with enough rehearsed material to do the last set). Without Wreckless, the order is therefore Lowe-Dury-Costello. Got it? | ||
At the backstage buffet, Elvis is loading up his plate with a fairly stunning assortment of cheese, cold meats, salady items and whatnot. Seeing my bemused stare, he adds reassuringly "It's not all for me. Some of it's for Day. We used to get so ''hungry'' when we were recording | At the backstage buffet, Elvis is loading up his plate with a fairly stunning assortment of cheese, cold meats, salady items and whatnot. Seeing my bemused stare, he adds reassuringly "It's not all for me. Some of it's for Day. We used to get so ''hungry'' when we were recording 'The Long And Winding Road'." He pauses. His spectacles flash evilly. "There's a very interesting story behind all of that..." | ||
He raises his eyebrows invitingly. I say, "Yeah"? | He raises his eyebrows invitingly. I say, "Yeah"? | ||
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"...which shall remain secret." He wends his way to the tune-up room. I've got just enough time to murmur ''That's what you think, buster'' at his recently vacated airspace when it's time to rush out front for curtain-up on The Nick Lowe All-Stars. | "...which shall remain secret." He wends his way to the tune-up room. I've got just enough time to murmur ''That's what you think, buster'' at his recently vacated airspace when it's time to rush out front for curtain-up on The Nick Lowe All-Stars. | ||
Whatever you do, don't ever let anybody tell you that Nick Lowe doesn't know how to put a band together. At the back of the stage there's Terry Williams and Dave Edmunds hammering it out on twin drum kits, and strung out behind Our Hero are Penny Tobin (keyboards), Pete Thomas (rhythm guitar) and Larry Wallis (lead), all laying it down deep and crisp while Basher guns the motor of a mouth-watering vintage Gibson six-string-and-bass doublenecker into "So It Goes" | Whatever you do, don't ever let anybody tell you that Nick Lowe doesn't know how to put a band together. At the back of the stage there's Terry Williams and Dave Edmunds hammering it out on twin drum kits, and strung out behind Our Hero are Penny Tobin (keyboards), Pete Thomas (rhythm guitar) and Larry Wallis (lead), all laying it down deep and crisp while Basher guns the motor of a mouth-watering vintage Gibson six-string-and-bass doublenecker into "So It Goes." | ||
The tautness of Lowe's sound seems vaguely incongruous against his studiedly casual manner. Still, he can play dynamite bass even in a semi-slouch, and sing real good like a pop star should despite the wad of gum he keeps molaring. | The tautness of Lowe's sound seems vaguely incongruous against his studiedly casual manner. Still, he can play dynamite bass even in a semi-slouch, and sing real good like a pop star should despite the wad of gum he keeps molaring. | ||
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Pete Thomas stashes his borrowed red Strat and slides in behind the kit as a jubilant, juiced-up Edmunds straps on his Gibson ES 335 and bellows into the mike, "Nick Lowe wrote it, I recorded it and I hope you bought it! It's called "I Knew The Bride"!" | Pete Thomas stashes his borrowed red Strat and slides in behind the kit as a jubilant, juiced-up Edmunds straps on his Gibson ES 335 and bellows into the mike, "Nick Lowe wrote it, I recorded it and I hope you bought it! It's called "I Knew The Bride"!" | ||
The band storm into the song with a crackling energy that provides the most dynamic piece of ear massage thus far: Thomas and Williams hammering their kits through the floor with a flood of power that keeps right up until the band makes its exit on Lowe's superb "[[Heart Of The City]]" | The band storm into the song with a crackling energy that provides the most dynamic piece of ear massage thus far: Thomas and Williams hammering their kits through the floor with a flood of power that keeps right up until the band makes its exit on Lowe's superb "[[Heart Of The City]]." The keener-eared voyeurs backstage note that Lowe is actually singing "Ardvaark Of The City" on the song's ride-out. | ||
Backstage, all is Welsh jubilation as Phil Ryan and Martin Ace (formerly of the Man band) and George Ace (all three now with The Flying Aces) show up to hang out with Terry and Dai Edmunds to help celebrate Phil's birthday, but it's too late to stop now because Ian Dury and The Blockheads are due up on stage. | Backstage, all is Welsh jubilation as Phil Ryan and Martin Ace (formerly of the Man band) and George Ace (all three now with The Flying Aces) show up to hang out with Terry and Dai Edmunds to help celebrate Phil's birthday, but it's too late to stop now because Ian Dury and The Blockheads are due up on stage. | ||
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The Dury album alone would be a justification — if one were needed — for the existence of Stiff, because I can't think of a single straight record company in England who would have had the vision to commission and release it. | The Dury album alone would be a justification — if one were needed — for the existence of Stiff, because I can't think of a single straight record company in England who would have had the vision to commission and release it. | ||
The sound has improved between Lowe's set and Dury's which means that it's gone from appalling to mediocre. The audience have warmed up as well, as is demonstrated by the fact that a couple of them actually brave the security golems roaming the hall and attempt to get up and dance. Mind you, they're stiff-armed right back into their seats within seconds, but it's the thought that counts, and by the time Dury winds up his seat with the anthematic "Sex and Drugs And Rock And Roll" | The sound has improved between Lowe's set and Dury's which means that it's gone from appalling to mediocre. The audience have warmed up as well, as is demonstrated by the fact that a couple of them actually brave the security golems roaming the hall and attempt to get up and dance. Mind you, they're stiff-armed right back into their seats within seconds, but it's the thought that counts, and by the time Dury winds up his seat with the anthematic "Sex and Drugs And Rock And Roll," everybody's up at once. | ||
The golems growl and snarl and frown as threateningly as they can, but there are just too damn many people standing up and dancing at once for them to have any effect at all. | The golems growl and snarl and frown as threateningly as they can, but there are just too damn many people standing up and dancing at once for them to have any effect at all. | ||
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There's a moral in that, kidz. Bear it in mind next time you wanna dance at a concert. | There's a moral in that, kidz. Bear it in mind next time you wanna dance at a concert. | ||
Dury's set consisted of the material from his new album, played about one trillion times harder than it was in the studio. The whole set was sublime, but especial standouts were the moving "My Old Man" | Dury's set consisted of the material from his new album, played about one trillion times harder than it was in the studio. The whole set was sublime, but especial standouts were the moving "My Old Man," the hilariously accurate character sketches "Clevor Trever" and "Billericay Dickie," the rocking, spat-out "Sweet Gene Vincent" with a zonked but still dangerous Edmunds laying on some extra guitar muscle, "Plaistow Patricia" with its jaw-dropping intro...if I carry on much longer, I'll have listed the whole damn set under "highlights," but that's the kind of set it was. | ||
Dury's stage presence is as remarkable as everything else about him. In his battered bowler hat and stained jacket, he seems to have lurched leering straight out of Dickens, a manic and macabre costermonger, a Greek Chorus for the rejects and losers. If I had to name Dury's most outstanding quality, it would have to be ''compassion''; if only because of the way he refrains from training upon his characters the scorn that many would say they deserve. | Dury's stage presence is as remarkable as everything else about him. In his battered bowler hat and stained jacket, he seems to have lurched leering straight out of Dickens, a manic and macabre costermonger, a Greek Chorus for the rejects and losers. If I had to name Dury's most outstanding quality, it would have to be ''compassion''; if only because of the way he refrains from training upon his characters the scorn that many would say they deserve. | ||
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Denise is (a) a fine bass player who works with Wreckless's band (b) an all-round fine human being (c) Ian Dury's girlfriend and (d) one of the most beautiful women I've met all year. | Denise is (a) a fine bass player who works with Wreckless's band (b) an all-round fine human being (c) Ian Dury's girlfriend and (d) one of the most beautiful women I've met all year. | ||
For the first encore, Dave Edmunds — by now semi-legless but not giving an inch — comes on to add his guitar sorcery to "[[Mystery Dance]]" | For the first encore, Dave Edmunds — by now semi-legless but not giving an inch — comes on to add his guitar sorcery to "[[Mystery Dance]]," and for the second the entire cast assembles for — you guessed — "SEX!!! and DRUGS!!! and ROCK!!! and ROLL!!!" | ||
Back at the hotel, there's an impromptu party going on, as the Kursaals and The Cortinas are in town. A California peach named Farrah — "Farrah Fawcett-Minor" | Back at the hotel, there's an impromptu party going on, as the Kursaals and The Cortinas are in town. A California peach named Farrah — "Farrah Fawcett-Minor," is how she introduces herself — who does the tour newsletter is dressed up in a nurse's uniform and is asking various people if they require medical attention. Basher is drinking Bloody Mary from a pint mug, and Dave Edmunds is discussing a song lyric with [[Will Birch]] from the Kursaals. | ||
Edmunds is preoccupied with two things: thing the first being the fact that he is somewhat unhappy — to say, the least — with the state of his relationship with his record/management company Swan Song, and thing the second the strength and energy that he derives from working with guitarist [[Billy Bremner]], drummer Terry Williams and bassist-vocalist-songwriter-genius Nick Lowe in his band Rockpile. He's also upset by being described as "dumpy and matted" by Tony Parsons in ''NME'' a couple of weeks back. | Edmunds is preoccupied with two things: thing the first being the fact that he is somewhat unhappy — to say, the least — with the state of his relationship with his record/management company Swan Song, and thing the second the strength and energy that he derives from working with guitarist [[Billy Bremner]], drummer Terry Williams and bassist-vocalist-songwriter-genius Nick Lowe in his band Rockpile. He's also upset by being described as "dumpy and matted" by Tony Parsons in ''[[New Musical Express, October 22, 1977|NME]]'' a couple of weeks back. | ||
"I know I've got a little bit of a pot, but the axe hides that. As for matted..." he scratches worriedly at his dishevelled but undeniably clean and shiny barnet and then waves his fist with a gesture so extravagant that he nearly knocks a triple Scotch all over Terry Williams. | "I know I've got a little bit of a pot, but the axe hides that. As for matted..." he scratches worriedly at his dishevelled but undeniably clean and shiny barnet and then waves his fist with a gesture so extravagant that he nearly knocks a triple Scotch all over Terry Williams. | ||
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The Main Culprit had been reinstated by Lowe because he apologised, but Edmunds refused to do likewise, and unrepentantly hopped a cab to the station to go back to London, leaving his guitar and amp in the truck. Lowe and Williams attempt to follow him to the station but all their love's in vain since the train has left ten minutes before they get there. | The Main Culprit had been reinstated by Lowe because he apologised, but Edmunds refused to do likewise, and unrepentantly hopped a cab to the station to go back to London, leaving his guitar and amp in the truck. Lowe and Williams attempt to follow him to the station but all their love's in vain since the train has left ten minutes before they get there. | ||
Saylarvie. Terry Williams drums the first part of Lowe's set by himself. "I Knew The Bride" is dropped from the set and Elvis Costello weighs in on second guitar on "Heart Of The City" | Saylarvie. Terry Williams drums the first part of Lowe's set by himself. "I Knew The Bride" is dropped from the set and Elvis Costello weighs in on second guitar on "Heart Of The City." And like the cavalry charging over the ridge in the last reel, Wallis delivers a solo on the Saturday night version of "City" that's as good as anyone — even Dai Edmunds — could have played on that song. Watch this boy — life begins at 30, Larry. | ||
En route to Leicester, the party stops in the charming little tourist-trap village of Bakewell — where, as various members of the party are not slow to point out, the tarts come from. Ian Dury buys up one chemist's shop's entire stock of Interdens — medicated toothpicks, lamebrain! — and ceremoniously distributes them to the assembled company. | En route to Leicester, the party stops in the charming little tourist-trap village of Bakewell — where, as various members of the party are not slow to point out, the tarts come from. Ian Dury buys up one chemist's shop's entire stock of Interdens — medicated toothpicks, lamebrain! — and ceremoniously distributes them to the assembled company. | ||
After various eating places have been dismissed as "too expensive" | After various eating places have been dismissed as "too expensive," I-man ends up having lunch with Costello, Davey Payne, Farrah and photographer Fran at a tiny little caff where the strain of providing five simultaneous orders proves almost too much for the facilities. | ||
After the purchase of throat pastilles, apples, and ice-cream, me and Costello settle down to rap our way to Leicester. Various people are opining that Edmunds will show up in Leicester. Me, I reckon it seems unlikely and sure enough there he isn't, but by Monday he's back — "Hello boys" — and All Is Well. | After the purchase of throat pastilles, apples, and ice-cream, me and Costello settle down to rap our way to Leicester. Various people are opining that Edmunds will show up in Leicester. Me, I reckon it seems unlikely and sure enough there he isn't, but by Monday he's back — "Hello boys" — and All Is Well. | ||
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"Ian Dury's "Blackmail Man" really shows those whining little brats what it's all about." | "Ian Dury's "Blackmail Man" really shows those whining little brats what it's all about." | ||
There's been talk of Richard Hell becoming an honorary Stiff for the occasion in Leicester, and as it turns out he's there at the gig, but in a non-playing capacity. He's in the wings for the Dury and Costello sets, chugging on a can of beer and staring in bemusement at the slightly absurd spectacle of me and Costello singing along to "My Old Man" | There's been talk of Richard Hell becoming an honorary Stiff for the occasion in Leicester, and as it turns out he's there at the gig, but in a non-playing capacity. He's in the wings for the Dury and Costello sets, chugging on a can of beer and staring in bemusement at the slightly absurd spectacle of me and Costello singing along to "My Old Man." His eyes widen — if that's possible — in delight as Dury croaks "Arse-holes-bas-tards-fuck-ing cunts-and-PRICKS!!!" at the beginning of "Plaistow Patricia." | ||
In his honour, Costello opens his set with Hell's "[[Love Comes In Spurts]]" | In his honour, Costello opens his set with Hell's "[[Love Comes In Spurts]]." | ||
As soon as we'd trooped into the hall, Pete Thomas had turned round and announced "Now ''this'', my friends, is what I call a ''gig''," and in terms of sound quality and general vibe Leicester beats Manchester all hollow, even despite the absence of Dave Edmunds. The audience is up and grooving right from the start, which proves that college gigs are okay, buster, even though they do play an endlessendlessendless eight-track of ''Sergeant Pepper'' in the bar. | As soon as we'd trooped into the hall, Pete Thomas had turned round and announced "Now ''this'', my friends, is what I call a ''gig''," and in terms of sound quality and general vibe Leicester beats Manchester all hollow, even despite the absence of Dave Edmunds. The audience is up and grooving right from the start, which proves that college gigs are okay, buster, even though they do play an endlessendlessendless eight-track of ''Sergeant Pepper'' in the bar. |
Revision as of 19:32, 22 October 2017
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