Finger Lake Times, February 22, 1979: Difference between revisions
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<center><h3> Costello refuses to play by the rules </h3></center> | <center><h3> Costello refuses to play by the rules </h3></center> | ||
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BERKELEY, Calif. — Hold | BERKELEY, Calif. — Hold everything! What's Elvis Costello trying to do — sabotage his career? | ||
It seemed foolhardy enough two years ago when he (nee Declan McManus) adopted the sacred Presley first name, a move that could have caused rock audiences to dismiss him as a kook or opportunist. | It seemed foolhardy enough two years ago when he (nee Declan McManus) adopted the sacred Presley first name, a move that could have caused rock audiences to dismiss him as a kook or opportunist. | ||
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Costello, a 24-year-old Englishman who looks like a rock equivalent of Woody Allen, mixes the energy of the British new wave with the biting lyrics and commanding viewpoint associated with Bob Dylan and John Lennon. It's a bold, captivating approach. | Costello, a 24-year-old Englishman who looks like a rock equivalent of Woody Allen, mixes the energy of the British new wave with the biting lyrics and commanding viewpoint associated with Bob Dylan and John Lennon. It's a bold, captivating approach. | ||
But even the most adventurous forces | But even the most adventurous forces in rock normally hedge their bets once mass acceptance seems within their reach. So, the predictable thing for Costello to do on this, his "breakthrough" tour would have been to ease up a bit. | ||
The joy of his recent [[Concert 1979-02-09 Berkeley|concert]] at the sold-out, 3,500-seat Berkeley Community Center was that Costello did the opposite. He showed even more independence. The result was the most stirring rock performance I've seen since last year's Bruce Springsteen triumphs. | The joy of his recent [[Concert 1979-02-09 Berkeley|concert]] at the sold-out, 3,500-seat Berkeley Community Center was that Costello did the opposite. He showed even more independence. The result was the most stirring rock performance I've seen since last year's Bruce Springsteen triumphs. | ||
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In Costello's case, the latter would include "Radio, Radio," his anthemish attack on conservative AM programming tendencies; "Alison," the beautifully designed ballad that Linda Ronstadt included on her latest album, and "(What's So Funny 'Bout) Peace, Love & Understanding," the track that Columbia Records is eyeing as Costello's next single. | In Costello's case, the latter would include "Radio, Radio," his anthemish attack on conservative AM programming tendencies; "Alison," the beautifully designed ballad that Linda Ronstadt included on her latest album, and "(What's So Funny 'Bout) Peace, Love & Understanding," the track that Columbia Records is eyeing as Costello's next single. | ||
But he didn't do any of them. In fact, he only included six songs from his first two albums in the 19-song, 65 minute set. Nine songs were from ''Armed Forces'', and four others haven't appeared on any of Costello's U.S. albums. | But he didn't do any of them. In fact, he only included six songs from his first two albums in the 19-song, 65-minute set. Nine songs were from ''Armed Forces'', and four others haven't appeared on any of Costello's U.S. albums. | ||
So, how much did this daring bit of song selection cost Costello in crowd response? | So, how much did this daring bit of song selection cost Costello in crowd response? | ||
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Though his pulsating, virtual non-stop stage approach works against prolonged applause, Costello's marvelously paced set drew five standing ovations. | Though his pulsating, virtual non-stop stage approach works against prolonged applause, Costello's marvelously paced set drew five standing ovations. | ||
And there was one other surprise wrinkle: | And there was one other surprise wrinkle: | ||
When rock acts leave the stage, the auditorium house lights are kept off, thereby informing the audience of the intent to return for an encore. | When rock acts leave the stage, the auditorium house lights are kept off, thereby informing the audience of the intent to return for an encore. | ||
Costello, however, apparently | Costello, however, apparently instructed the stage crew to turn on the house lights when he left the stage. That gave the audience a convenient out if it didn't want more. The cheering continued, and Costello came back. But some nights, I'm sure, he will choose not to. | ||
The lesson is obvious: Costello isn't going to play by the rules. And that's good. | The lesson is obvious: Costello isn't going to play by the rules. And that's good. | ||
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His Attractions band — Steve Naive on keyboards, Pete Thomas on drums and Bruce Thomas on bass — provides a steady, dramatic backdrop for Costello's songs, most of which deal with intensely combative relationships (romantic and otherwise). | His Attractions band — Steve Naive on keyboards, Pete Thomas on drums and Bruce Thomas on bass — provides a steady, dramatic backdrop for Costello's songs, most of which deal with intensely combative relationships (romantic and otherwise). | ||
Despite a fairly consistent energy level, Costello's music varies greatly | Despite a fairly consistent energy level, Costello's music varies greatly in emotional tone. It ranges from sarcasm (''"Your mouth is made up / But your mind is undone"'') to compassion: ''"It's the damage that we do and never know / It's the things we don't say that scare me so."'' | ||
The lyrics — which also in corporate humor, anger and social comment — are sung with snarling, exclamation point determination. In their purest form, most deal with mind-to-mind combat: "Two Little | The lyrics — which also in corporate humor, anger and social comment — are sung with snarling, exclamation point determination. In their purest form, most deal with mind-to-mind combat: "Two Little Hitlers" — a song title — fighting it out for the ''"other one's will."'' | ||
Unlike Springsteen whose concerts are a joyous celebration of having overcome emotional struggle, Costello touches more closely on the anguish of those struggles. | Unlike Springsteen whose concerts are a joyous celebration of having overcome emotional struggle, Costello touches more closely on the anguish of those struggles. | ||
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[[Robert Hilburn]] reviews Elvis Costello & [[The Attractions]], Saturday, [[Concert 1979-02-09 Berkeley|February 9, 1979]], Berkeley Community Theatre, Berkeley, CA. | [[Robert Hilburn]] reviews Elvis Costello & [[The Attractions]], Saturday, [[Concert 1979-02-09 Berkeley|February 9, 1979]], Berkeley Community Theatre, Berkeley, CA. | ||
{{Robert Hilburn 1979-02-13 Los Angeles Times}} | |||
{{Bibliography images}} | {{Bibliography images}} |
Latest revision as of 12:59, 21 December 2020
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