Ukiah Daily Journal, July 25, 1982: Difference between revisions
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{{Bibliography header}} | {{Bibliography header}} | ||
{{Bibliography index}} | {{:Bibliography index}} | ||
{{:Ukiah Daily Journal index}} | {{:Ukiah Daily Journal index}} | ||
{{: | {{:California publications index}} | ||
{{:US publications by state index}} | |||
{{Bibliography article header}} | {{Bibliography article header}} | ||
<center><h3> Jake Riviera put out my lights | <center><h3> Jake Riviera put out my lights </h3></center> | ||
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<center> Ron Gluckman </center> | <center> Ron Gluckman </center> | ||
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'''Or how rock critics vacation in many parts | |||
{{Bibliography text}} | {{Bibliography text}} | ||
Some people jet away to an exotic spot and spend all their time rifling off postcards to their hopefully envious friends back home. | Some people jet away to an exotic spot and spend all their time rifling off postcards to their hopefully envious friends back home. | ||
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Others just hide away in some romantic scene and play out their honeymoon scripts, culled from a lifetime of editing. | Others just hide away in some romantic scene and play out their honeymoon scripts, culled from a lifetime of editing. | ||
Me, I got married and waited a month for a few days away from this desk before I could drag my new bride along on a rock | Me, I got married and waited a month for a few days away from this desk before I could drag my new bride along on a rock 'n' roll honeymoon. | ||
But hey — I warned her about what she was getting into. | But hey — I warned her about what she was getting into. | ||
Wednesday: Santa Cruz is just a buncha freeway exits south of Ukiah. We get there late and find a decent oceanside hotel. | Wednesday: Santa Cruz is just a buncha freeway exits south of Ukiah. We get there late and find a decent oceanside hotel. | ||
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All to the crowd's benefit. The uncrowded hall offers plenty of room to wonder among the nubile new wavers, dressed in brand new Salvation Army-style threads, the imprint of new plastic wrappers almost visible. Stage front is an easy amble through the thin crowd. A photographer's dream. | All to the crowd's benefit. The uncrowded hall offers plenty of room to wonder among the nubile new wavers, dressed in brand new Salvation Army-style threads, the imprint of new plastic wrappers almost visible. Stage front is an easy amble through the thin crowd. A photographer's dream. | ||
Opening for Costello, | Opening for Costello, The Plimsouls are offering their psychedelic-rock wares — with few takers. Once with a major label this Los Angeles quartet features Flaming Groovy-ish vocals and instrumental attack. They are competent, cool and mostly melodic. | ||
As they finish their set, we head backstage for an early glimpse of Costello, unseen in these parts for a year and a half. It has been a productive period for him. | As they finish their set, we head backstage for an early glimpse of Costello, unseen in these parts for a year and a half. It has been a productive period for him. | ||
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Confrontations with this behemoth of business sense and musical guidance are well documented in contemporary musical periodicals — often in place of any real contact with the star that shines behind this man — since Costello generally maintains his distance from the press. | Confrontations with this behemoth of business sense and musical guidance are well documented in contemporary musical periodicals — often in place of any real contact with the star that shines behind this man — since Costello generally maintains his distance from the press. | ||
Riviera comes barrelling down the hallway like a freight train speeding through a tunnel, determined to explode through the approaching mountain whether or not that tunnel materializes. | Riviera comes barrelling down the hallway like a freight train speeding through a tunnel, determined to explode through the approaching mountain whether or not that tunnel materializes. | ||
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Stammering something about photo clearance, which I had been assured, is useless; my words sputter against his chest. He has me ripping the film from my camera. | Stammering something about photo clearance, which I had been assured, is useless; my words sputter against his chest. He has me ripping the film from my camera. | ||
"And you are our guest here," he spits at me, little realizing that in five years of trying, I have never advanced closer to the graces of Costello than a short, long distance phone call to his record company. If a guest at all backstage, | "And you are our guest here," he spits at me, little realizing that in five years of trying, I have never advanced closer to the graces of Costello than a short, long distance phone call to his record company. If a guest at all backstage, I am certainly no guest of Costello or his circle. | ||
And yet I pass him the film anyway, and Riviera's fingers close in a snarl about the roll. Then he stomps off, unaware of the significance of the moment. | And yet I pass him the film anyway, and Riviera's fingers close in a snarl about the roll. Then he stomps off, unaware of the significance of the moment. | ||
The ''Ukiah Daily Journal'' has climbed another notch in the long rope of music-related rejections. | The ''Ukiah Daily Journal'' has climbed another notch in the long rope of music-related rejections. | ||
After this excitement, the actual concert might seem anti-climatic, but it is among the best shows I have attended. Costello is a bit slow coming around, a fact he acknowledges often in a friendly manner. "You have to understand, this is our first night in America, so we are a bit stiff." | After this excitement, the actual concert might seem anti-climatic, but it is among the best shows I have attended. Costello is a bit slow coming around, a fact he acknowledges often in a friendly manner. "You have to understand, this is our first night in America, so we are a bit stiff." | ||
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From the start the show is decidedly different from any he has cast upon American shores in the past. Though Costello begins with "Accidents Will Happen" and "Strict Time" (common early numbers), he next sails into a fully orchestrated "Green Shirt." | From the start the show is decidedly different from any he has cast upon American shores in the past. Though Costello begins with "Accidents Will Happen" and "Strict Time" (common early numbers), he next sails into a fully orchestrated "Green Shirt." | ||
The first selection from his new album, " | The first selection from his new album, "Pidgin English," is followed by a brilliant version of "Hand In Hand." Costello pounds the cords out on guitar while singing in a deep, commanding voice. | ||
A few tunes from ''Trust'' are interspersed with other songs from the new album. | A few tunes from ''Trust'' are interspersed with other songs from the new album. | ||
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Though both Bruce and Pete Thomas (no relationship) are sensational on bass and drum respectively, it is Nieve who provides the magical transformations throughout the evening with an myriad of keyboard effects. | Though both Bruce and Pete Thomas (no relationship) are sensational on bass and drum respectively, it is Nieve who provides the magical transformations throughout the evening with an myriad of keyboard effects. | ||
Costello performs the majority of the new album, reaching back to his first two albums for such favorites as " | Costello performs the majority of the new album, reaching back to his first two albums for such favorites as "Alison," "You Belong To Me" and "Mystery Dance." | ||
But it is the introduction to "King Horse" that really excites the crowd. With a spate of rhythm guitar and gruff voice, Costello leads the band through | But it is the introduction to "King Horse" that really excites the crowd. With a spate of rhythm guitar and gruff voice, Costello leads the band through an abbreviated, but highly spirited version of the old O'Jays' hit, "Back Stabbers." | ||
Before closing, the prolific genius rips off a couple of new tunes, among them a song titled, "Imperial Bedroom," which was not included on the album of the same name. | Before closing, the prolific genius rips off a couple of new tunes, among them a song titled, "Imperial Bedroom," which was not included on the album of the same name. | ||
{{cx}} | |||
{{tags}}[[Concert 1982-07-14 Santa Cruz|Santa Cruz Civic Auditorium]] {{-}} [[Santa Cruz]] {{-}} [[The Attractions]] {{-}} [[Bruce Thomas]] {{-}} [[Steve Nieve]] {{-}} [[Pete Thomas]] {{-}} [[Almost Blue]] {{-}} [[Imperial Bedroom]] {{-}} [[Trust]] {{-}} [[Jake Riviera]] {{-}} [[Stiff Records]] {{-}} [[Nick Lowe]] {{-}} [[Accidents Will Happen]] {{-}} [[Strict Time]] {{-}} [[Green Shirt]] {{-}} [[Pidgin English]] {{-}} [[Hand In Hand]] {{-}} [[Shabby Doll]] {{-}} [[...And In Every Home|And In Every Home]] {{-}} [[Alison]] {{-}} [[You Belong To Me]] {{-}} [[Mystery Dance]] {{-}} [[King Horse]] {{-}} [[The O'Jays]] {{-}} [[Back Stabbers]] {{-}} [[Imperial Bedroom (song)|Imperial Bedroom]] {{-}} [[Concert 1982-07-17 Berkeley|Greek Theatre]] {{-}} [[Berkeley]] {{-}} [[The Plimsouls]] | |||
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{{Bibliography notes}} | {{Bibliography notes}} | ||
{{Bibliography next | |||
|prev = Ukiah Daily Journal, December 13, 1981 | |||
|next = Ukiah Daily Journal, October 10, 1982 | |||
}} | |||
'''Ukiah Daily Journal, July 25, 1982 | '''Ukiah Daily Journal, July 25, 1982 | ||
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[[Ron Gluckman]] reviews Elvis Costello & [[The Attractions]], Wednesday, [[Concert 1982-07-14 Santa Cruz|July 14, 1982]], | [[Ron Gluckman]] reviews Elvis Costello & [[The Attractions]] and opening act [[The Plimsouls]], Wednesday, [[Concert 1982-07-14 Santa Cruz|July 14, 1982]], Civic Auditorium, Santa Cruz, California. | ||
{{Bibliography images}} | {{Bibliography images}} | ||
[[image:1982-07-25 Ukiah Daily Journal page 06.jpg| | [[image:1982-07-25 Ukiah Daily Journal page 06.jpg|380px]] | ||
<br><small>Page scan.</small> | <br><small>Page scan.</small> | ||
[[image:1982-07-25 Ukiah Daily Journal photo 01 rg.jpg| | |||
<br><small>Photo.</small> | [[image:1982-07-25 Ukiah Daily Journal photo 01 rg.jpg|380px|border]] | ||
<br><small>Photo by [[Ron Gluckman]].</small> | |||
{{Bibliography notes footer}} | {{Bibliography notes footer}} |
Latest revision as of 06:05, 10 October 2022
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