Boston Globe, March 30, 1979: Difference between revisions
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This time Costello demonstrated superior pacing, much more professional lighting and yes, he even smiled. Wearing a pink tie and his infamous checkerboard coat, Costello and his band, the Attractions, played for more than an hour (he has done a few 45-minute shows lately that have outraged ardent fans), focusing on songs from ''This Year's Model'' and ''Armed Forces'', intermixed with four new numbers. | This time Costello demonstrated superior pacing, much more professional lighting and yes, he even smiled. Wearing a pink tie and his infamous checkerboard coat, Costello and his band, the Attractions, played for more than an hour (he has done a few 45-minute shows lately that have outraged ardent fans), focusing on songs from ''This Year's Model'' and ''Armed Forces'', intermixed with four new numbers. | ||
Three of the four new songs (especially "Opportunity" and "B Movie") had an intensity akin to "Pump It Up" from his second album. Another, the aptly-named "High Fidelity" (with a chorus of "Can you hear me?"), was in keeping with the depth of ''Armed Forces''. It started with an eerie synthesizer intro from Steve Naive and worked up to a drowning man's wail from Elvis. | Three of the four new songs (especially "Opportunity" and "B{{nb}}Movie") had an intensity akin to "Pump It Up" from his second album. Another, the aptly-named "High Fidelity" (with a chorus of ''"Can you hear me?"''), was in keeping with the depth of ''Armed Forces''. It started with an eerie synthesizer intro from Steve Naive and worked up to a drowning man's wail from Elvis. | ||
Costello played non-stop, like the Ramones and the Clash in this respect but with considerably more melody, until he paused midway through to acknowledge a near-standing ovation. He came back with the chunky guitar syncopations of "The Beat," then the uncharacteristic ballad " | Costello played non-stop, like the Ramones and the Clash in this respect but with considerably more melody, until he paused midway through to acknowledge a near-standing ovation. He came back with the chunky guitar syncopations of "The Beat," then the uncharacteristic ballad "Alison" (which he rarely does anymore since Linda Ronstadt recorded it). | ||
His improved pacing was evident when he danced for the first time during "Big Boys" (as good a documentary of teenage angst that I've ever heard), then gave way to a dramatic light-show on "Lipstick Vogue." Harsh white spotlights coming from Pete Thomas' drumkit lent an Emerson Lake & Palmer touch, adding a dimension Costello hasn't had before. Too bad about the racial remarks (are we so jaded to just let them pass?) because this was a levitating show. | His improved pacing was evident when he danced for the first time during "Big Boys" (as good a documentary of teenage angst that I've ever heard), then gave way to a dramatic light-show on "Lipstick Vogue." Harsh white spotlights coming from Pete Thomas' drumkit lent an Emerson Lake & Palmer touch, adding a dimension Costello hasn't had before. Too bad about the racial remarks (are we so jaded to just let them pass?) because this was a levitating show. | ||
The Rubinoos scored as opening act with a genuine feel for teen-market pop without the schmaltz of the Bay City Rollers. Their version of the Beatles' "Please Please Me" was ecstatic, as was their handling of the Seeds' " | The Rubinoos scored as opening act with a genuine feel for teen-market pop without the schmaltz of the Bay City Rollers. Their version of the Beatles' "Please Please Me" was ecstatic, as was their handling of the Seeds' "Pushin' Too Hard." They may be in a time warp, but they're born entertainers. | ||
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<br><small>Page scan.</small> | <br><small>Page scan.</small> | ||
Revision as of 23:05, 25 March 2019
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