USC Daily Trojan, September 22, 1983: Difference between revisions
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But at the Universal Amphitheater Sunday night, the obtuse emotional emptiness of his recent material suddenly seemed almost forgivable. Costello's singing was so impassioned, and the gussy R&B arrangements of old and new songs alike so punchy, that even Ray Charles might have been tempted to forget past sins and offer congratulations. | But at the Universal Amphitheater Sunday night, the obtuse emotional emptiness of his recent material suddenly seemed almost forgivable. Costello's singing was so impassioned, and the gussy R&B arrangements of old and new songs alike so punchy, that even Ray Charles might have been tempted to forget past sins and offer congratulations. | ||
At the beginning of the concert, with the Attractions augmented by the four-member TKO Horns and female backing vocals of Afrodiziak, it seemed as if Costello might use the occasion as an opportunity to redefine his entire concert repertoire in the radical fashion of Bob Dylan's Budokan-era tour or David Bowie's latest swing. And indeed, that's what the first and final thirds of the two-hour performance were, with chestnuts ranging from "Possession" to the closing "Pump It Up" receiving the soul revue treatment. | At the beginning of the concert, with the Attractions augmented by the four-member TKO Horns and female backing vocals of Afrodiziak, it seemed as if Costello might use the occasion as an opportunity to redefine his entire concert repertoire in the radical fashion of Bob Dylan's ''Budokan''-era tour or David Bowie's latest swing. And indeed, that's what the first and final thirds of the two-hour performance were, with chestnuts ranging from "Possession" to the closing "Pump It Up" receiving the soul revue treatment. | ||
But, perhaps sensing it a bit early in his career to become his own revisionist, Elvis also let the horn players and singers leave the stage mid-show while he and the basic three-man lineup of the Attractions roared through standards like "Red Shoes" and "Peace, Love and Understanding." Even these weren't completely safe, as Steve Nieve was likely to introduce a new piano flourish here and there that would give each number an entire new tone. | But, perhaps sensing it a bit early in his career to become his own revisionist, Elvis also let the horn players and singers leave the stage mid-show while he and the basic three-man lineup of the Attractions roared through standards like "Red Shoes" and "Peace, Love and Understanding." Even these weren't completely safe, as Steve Nieve was likely to introduce a new piano flourish here and there that would give each number an entire new tone. |
Revision as of 15:43, 6 July 2015
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