Finger Lake Times, February 22, 1979: Difference between revisions
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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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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 Hitters" — a song title — fighting it out for the ''"other one's will."'' | 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 Hitters" — a song title — fighting it out for the ''"other one's will."'' |
Revision as of 04:03, 22 July 2015
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