Sounds, October 11, 1980: Difference between revisions
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So Steve Nieve, who I believe continued to play his keyboards outstandingly, was rarely heard from again. Old favourites like "The Beat," "I Don't Want To Go To Chelsea," "Accidents Will Happen," "Radio Radio," "I Can't Stand Up For Falling Down" and "Pump It Up" were trashed like so much refuse in the dumper of bedlam noise, along with a couple of his new pieces such as "From A Whisper To A Scream." I really did try to listen to what was going on in all this chaos and I couldn't with any conviction blame the band even one per cent. The input I could see bore no relation at all to the output I was hearing. | So Steve Nieve, who I believe continued to play his keyboards outstandingly, was rarely heard from again. Old favourites like "The Beat," "I Don't Want To Go To Chelsea," "Accidents Will Happen," "Radio Radio," "I Can't Stand Up For Falling Down" and "Pump It Up" were trashed like so much refuse in the dumper of bedlam noise, along with a couple of his new pieces such as "From A Whisper To A Scream." I really did try to listen to what was going on in all this chaos and I couldn't with any conviction blame the band even one per cent. The input I could see bore no relation at all to the output I was hearing. | ||
The only relief came from their less frantic pieces, giving the strong and probably false impression that Elvis's future lies with the more considered approach - the evidence was persuasive, but totally unbalanced by the aural problems. Half a minute of subtle, open rhythm variations in the middle of | The only relief came from their less frantic pieces, giving the strong and probably false impression that Elvis's future lies with the more considered approach - the evidence was persuasive, but totally unbalanced by the aural problems. Half a minute of subtle, open rhythm variations in the middle of "Watching The Detectives" were the highlight of the night, the band getting through to express itself as a sympatico quartet at last. The melifluous melodies of "Oliver's Army" and "Alison" were played as encores and renewed their impact as outbursts of joy amid all the Costello snappishness (pardon me if that makes a nonsense of the meaning of "Oliver's Army," but that's the feeling it gives me). | ||
Also, mercifully, several more of his post-''Get Happy'' compositions did make it. The tongue-twisting "Lovers Walk" stirred it up with Elvis pouting and moody rock'n'rolling and superb drum-driving (cleaned up for three minutes somehow). "You'll Never Be A Man" had. that undertone of power and resolute seriousness typical of the way Costello can persuade a mass audience into accepting weighty music. "Clubland" hinted at classic possibilities of wider scope: that Springsteen overreaching aspiration of taking on a whole way of life and winning - particularising, generalising and finally delivering it just the way it is (I know, a very exaggerated claim on one listen. Perhaps it's only a good tune.). | Also, mercifully, several more of his post-''Get Happy'' compositions did make it. The tongue-twisting "Lovers Walk" stirred it up with Elvis pouting and moody rock'n'rolling and superb drum-driving (cleaned up for three minutes somehow). "You'll Never Be A Man" had. that undertone of power and resolute seriousness typical of the way Costello can persuade a mass audience into accepting weighty music. "Clubland" hinted at classic possibilities of wider scope: that Springsteen overreaching aspiration of taking on a whole way of life and winning - particularising, generalising and finally delivering it just the way it is (I know, a very exaggerated claim on one listen. Perhaps it's only a good tune.). | ||
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<br><small>Photo.</small> | <br><small>Photo.</small> | ||
[[image:1980-10-11 Sounds cover.jpg|900x120px]] | [[image:1980-10-11 Sounds cover.jpg|900x120px|border]] | ||
<br><small>Cover.</small> | <br><small>Cover.</small> | ||
Revision as of 22:22, 29 April 2013
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