Chicago Reader, March 22, 1979: Difference between revisions
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<center><h3> How the twit took over: | <center><h3> How the twit took over: Elvis{{nb}}Costello's{{nb}}master{{nb}}plan </h3></center> | ||
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<center> John Milward </center> | <center> John Milward </center> | ||
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Costello's two Chicago shots displayed him in the roles of still-energized antagonist (the Park West) and rock star (the Aragon) ''"I am starting to function,"'' began Elvis at the club date, more than fashionably late and starting out his set with nearly half of ''Armed Forces''. From "Green Shirt" to "Two Little Hitlers," the message was clear — don't trust anybody, especially your lover (and, most particularly, your mother). By contrast, the Aragon show opened with what may be Costello's best song yet, the album-opening single "Accidents Will Happen." ''"Oh I just don't know where to begin,"'' he sings, and it's hard to imagine a better salutation for an evening of this man's obsessions. This song strikes with the same heart-bending intensity as "Alison": more than any of his other tunes, these two speak from the heart rather than from behind a narrative disguise. Costello customarily cloaks his demons in characters, from the pocket novel ambience of "Watching the Detectives" to the military allusions that run throughout ''Armed Forces'', but these songs lay the theme right out on the bloody line. People meet, fuck each other over, and persist in repeating the mystery dance. Dominance and submission, whether in the military or matrimony. ''"Accidents will happen, it's only hit and run, I don't want to hear it, 'cause I know what I've done." | Costello's two Chicago shots displayed him in the roles of still-energized antagonist (the Park West) and rock star (the Aragon) ''"I am starting to function,"'' began Elvis at the club date, more than fashionably late and starting out his set with nearly half of ''Armed Forces''. From "Green Shirt" to "Two Little Hitlers," the message was clear — don't trust anybody, especially your lover (and, most particularly, your mother). By contrast, the Aragon show opened with what may be Costello's best song yet, the album-opening single "Accidents Will Happen." ''"Oh I just don't know where to begin,"'' he sings, and it's hard to imagine a better salutation for an evening of this man's obsessions. This song strikes with the same heart-bending intensity as "Alison": more than any of his other tunes, these two speak from the heart rather than from behind a narrative disguise. Costello customarily cloaks his demons in characters, from the pocket novel ambience of "Watching the Detectives" to the military allusions that run throughout ''Armed Forces'', but these songs lay the theme right out on the bloody line. People meet, fuck each other over, and persist in repeating the mystery dance. Dominance and submission, whether in the military or matrimony. ''"Accidents will happen, it's only hit and run, I don't want to hear it, 'cause I know what I've done." | ||
Costello's three albums tread the same emotional {{t}}--?-- {{t}}--?-- ends {{t}}--?-- {{t}}--?-- was {{t}}--?-- {{t}}--?-- {{t}}--?-- vantage point, making it difficult to pick a favorite, and finally making it appear as if they're all one. It is... | Costello's three albums tread the same emotional {{t}}--?-- {{t}}--?-- ends {{t}}--?-- {{t}}--?-- was {{t}}--?-- {{t}}--?-- {{t}}--?-- vantage point, making it difficult to pick a favorite, and finally making it appear as if they're all one. It is instructive, however, to note the production and repertoire differences between the records: for herein might lie the blueprint to the master plan. ''My Aim Is True'' literally came out of nowhere, and its songs seem, in retrospect, almost innocent, it not virginal. Cynicism already pervaded Costello's world. but "The Angels Wanna Wear My) Red Shoes" was the record's calling card and a raving declaration of the rejuvenative powers of full-tilt rock 'n' roll dancing'. The creativity was both feverish and vigorous. | ||
''This Year's Model'' aimed for bigger targets, and, in performance, its songs have become Elvis's most impressive trophies. Where the accompaniment by rock group Clover on the first album was a tad sterile, the recording debut of the Attractions breathed fire on Costello's songs. At their best, the compositions became synonymous with the performances, both components rocking happily to "The Beat." That song, of course, is its own best metaphor, and it's hardly surprising that it was a stunning show-stopper at both Chicago concerts. The song seems bigger than the words and guitar chords of which It is made: and it becomes a celebration a rock 'n' roll rather than just a rock 'n' roll song. Elvis's cynical self is hiding in the syncopation — ''"I'll do anything to confuse the enemy,"'' he sings — but there is also an obsessive energy that overshadows any stray pop pretensions. | |||
"The Beat" is also a case study in the band style Costello has developed with the Attractions, a style that essentially makes Steve's organ the lead instrument and Pete's drum the primary rhythmic tool, with Elvis's guitar for emphasizing color. (The Attractions last names still don't appear on Costello's albums.) A delightfully cheesy set of organ chords frames "The Beat," with guitar chords fleshing out a few spots in the verse and Keith Moon-like drums exploding at each chorus. It's when Costello puts the | |||
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[[Category:1979 concert reviews]] | [[Category:1979 concert reviews]] | ||
[[Category:Armed Funk Tour|~Chicago Reader 1979-03-22]] | [[Category:Armed Funk Tour|~Chicago Reader 1979-03-22]] | ||
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Latest revision as of 03:09, 18 October 2019
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