|
Way back around 1970 there was a concert at Municipal Auditorium that featured three then little-known British rock groups. Like all but the most fervent of my rock 'n' rolling friends, I had other things to do and missed it. The bands performing were Joe Cocker, Jethro Tull and the original Fleetwood Mac. Hardly a day has gone by in the last eight years that I haven't regretted staying home that night.
Except for the 1,300 enlightened people who made it to the Uptown Saturday night, there are going to be lots of people who missed the Elvis Costello-Mink DeVille-Nick Lowe concert who, when they realize what they missed, will feel just the way I do about that 1970 show.
Fans are screaming that Elvis Costello is the greatest thing since the Beatles, and his English label Stiff Records has capitalized on his popularity to showcase other deserving acts on a U.S. tour — Mink DeVille and Nick Lowe, who produced both of Costello's albums. The show probably was the rock event of the year to date.
Lest he be taken from his photos as a comedy act, let it be stated that Elvis Costello is writing and performing some of the only rock 'n' roll being played today. And lest he be lumped with the mass of "New Wave" and punk rock groups currently making their flash in the pan, let it also be understood that Elvis Costello is one of a kind. He is one of the only people in the world who has enough talent behind his poses to have followed DeVille and Lowe on the same bill.
Costello and his band, the Attractions, at last sauntered onstage and led off a relentless musical barrage with "Not Just Another Mouth," and continued without letup through a ferocious set, the high-pitched Farfisa organ whining though the music like Question Mark and the Mysterians.
Clad in a thin-lapelled tux coat, staggering to and from the microphone in his classic pigeon-toed, knock-kneed stance, Costello came off like Buddy Holly with an ax to grind. His burrish haircut has grown out since his appearance at Pogo's in February, and one long-haired fan yelled "Hippie!" in mock protest. The band resembles a decayed version of the early Who, and the music conjures up fantasies of Bruce Springsteen backed by the Yardbirds.
But these influences are mostly on the surface. Costello has incorporated all the rough edges and raw power of early '60s rock, blending straight rock 'n' roll (Presley style) with English blues and a little bit of reggae.
Since his first Kansas City appearance, Elvis has really become polished on the road, and the dramatic quality of his songs came alive on the Uptown's proscenium stage with all the proper lighting. Bathed in red light, Costello growled out a very hot, very fast version of "End of the World" followed by a fratic "No Action."
Costello is menacing but he also is fun — he can frighten with "Don't Want to Go to Chelsea" and then bring on the laughter with "(The Angels Want to Wear My) Red Shoes."
"Alison," Costello's most marketable ballad, which he rarely does in concert, was an oh-so-poignant ballad of hurt and longing, which proved that Costello can touch as deeply as he can shock. Winding up with "Radio, Radio" and "Pump it Up," Costello left them screaming "Elvis — Elvis — Elvis" in syncopation, and he unexpectedly returned to encore with "Mystery Dance" and "I'm Not Angry." But they still wanted more when the lights came up, and outside a T-shirt vendor had to sell the shirt off his back to satisfy the fans.
| 
