St. Bonaventure University Bona Venture, May 5, 1978: Difference between revisions
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Costello's history reads like a Monty Python comedy routine. He was a 23-year-old computer programmer who quit to tackle the music business. While playing clubs as a one-man act, people began to notice his searing angry rock 'n' roll after they had dismissed the absurdity of his physical appearance. He eventually signed a record contract with Stiff Records, a fledgling independent label specializing in "off-the-wall" acts. Costello now records for Columbia Records. | Costello's history reads like a Monty Python comedy routine. He was a 23-year-old computer programmer who quit to tackle the music business. While playing clubs as a one-man act, people began to notice his searing angry rock 'n' roll after they had dismissed the absurdity of his physical appearance. He eventually signed a record contract with Stiff Records, a fledgling independent label specializing in "off-the-wall" acts. Costello now records for Columbia Records. | ||
Elvis' signing to Columbia was the result of a bizarre promotion stunt by his manager Jake Riviera. Realizing there was a record | Elvis' signing to Columbia was the result of a bizarre promotion stunt by his manager Jake Riviera. Realizing there was a record industry executives' convention in London, Elvis set up a portable amplifier outside of the convention's doors and proceeded to play until he was arrested by the London police for disturbing the peace. Though the police didn't appreciate his talent, the executives from Columbia did. | ||
Elvis' first album, ''My Aim | Elvis' first album, ''My Aim Is True'', with such classics as "Alison," "Angels Wanna Wear My Red Shoes," "Miracle Man" among others made it into <i>Billboard</i>'s Top 30 Album Chart. ''Rolling Stone'', ''Creem'', ''Village Voice'', ''Bomp'', and virtually every other publication dealing with popular music acclaimed the album one of the most auspicious debuts of the year. | ||
''This Year's Model'', his second album, gives credence to Elvis' claim that his aim is true. The album contains ten songs of memorable hooks and lyrics. He has the knack of putting the right lick in at the right time to grab the listener's attention. All great rock 'n' rollers from Chuck Berry to Keith Richards to Bruce Springsteen have this talent to make their works more than just a sudden jolt of energy. | ''This Year's Model'', his second album, gives credence to Elvis' claim that his aim is true. The album contains ten songs of memorable hooks and lyrics. He has the knack of putting the right lick in at the right time to grab the listener's attention. All great rock 'n' rollers from Chuck Berry to Keith Richards to Bruce Springsteen have this talent to make their works more than just a sudden jolt of energy. | ||
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{{n}}''There's no action. | {{n}}''There's no action. | ||
"This Year's Girl" is a slicing put-down of the phoniness of such creations as Farrah Fawcett Majors and Cheryl Tiegs. Like the rest of the album, this song is dominated by the infectious sounds of Steve Naive's Farfisa organ. | "This Year's Girl" is a slicing put-down of the phoniness of such creations as Farrah Fawcett-Majors and Cheryl Tiegs. Like the rest of the album, this song is dominated by the infectious sounds of Steve Naive's Farfisa organ. | ||
"The Beat" and "Pump It Up" are two fast and fun dance numbers filled with Costello's own brand of tension-packed vocalizing. | "The Beat" and "Pump It Up" are two fast and fun dance numbers filled with Costello's own brand of tension-packed vocalizing. | ||
"Little Triggers" is the only ballad on the album Elvis tells his girl that he's sick of her lying and cheating on him In essence, he tells her to "hit the road": | "Little Triggers" is the only ballad on the album. Elvis tells his girl that he's sick of her lying and cheating on him. In essence, he tells her to "hit the road": | ||
{{n}}''Thinking about all those censored sequences <br> | {{n}}''Thinking about all those censored sequences <br> | ||
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{{m}}''when you don't call up | {{m}}''when you don't call up | ||
The final cut on side one is "You Belong To Me." The song oozes with a pop excitement that made the music of such '60s's bands like the | The final cut on side one is "You Belong To Me." The song oozes with a pop excitement that made the music of such '60s's bands like the Standells and the Music Machine so enthralling. The organ runs are straight 60's pop memorabilia. This song is my personal favorite. | ||
"Hand in Hand" opens the second side. It's a short rocker highlighted by the infectious repetition of the chorus. | "Hand in Hand" opens the second side. It's a short rocker highlighted by the infectious repetition of the chorus. | ||
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"Living in Paradise" is in the same vein as "Watching the Detectives" from the first album. It features a memorable pseudo-reggae beat that sets the tone for Costello's cynical lyrics. | "Living in Paradise" is in the same vein as "Watching the Detectives" from the first album. It features a memorable pseudo-reggae beat that sets the tone for Costello's cynical lyrics. | ||
"Lipstick Vogue" and "Radio Radio" round out ''This Year's Model''. "Lipstick Vogue" is a straight-ahead, no-holds-barred rocker. "Radio Radio" is the unannounced number Elvis performed on ''Saturday Night Live''. In the song, Costello gives his spiteful angry feelings about the music industry. No one is immune to Costello's seering rhetoric. Radio programmers, record executives, and even musicians fall victim to Elvis' emotional outbursts. The irony of the cut lies in the fact that all those entities attacked distinctly help determine the fate of such an artist as Costello. With this cut, Elvis once more proves that his aim is true. He hasn't yet fallen prey to the business structure that dominates the music industry. "Radio Radio" graphically proves this point: | "Lipstick Vogue" and "Radio, Radio" round out ''This Year's Model''. "Lipstick Vogue" is a straight-ahead, no-holds-barred rocker. "Radio, Radio" is the unannounced number Elvis performed on ''Saturday Night Live''. In the song, Costello gives his spiteful angry feelings about the music industry. No one is immune to Costello's seering rhetoric. Radio programmers, record executives, and even musicians fall victim to Elvis' emotional outbursts. The irony of the cut lies in the fact that all those entities attacked distinctly help determine the fate of such an artist as Costello. With this cut, Elvis once more proves that his aim is true. He hasn't yet fallen prey to the business structure that dominates the music industry. "Radio, Radio" graphically proves this point: | ||
{{n}}''You either shut up or get cut out <br> | {{n}}''You either shut up or get cut out <br> | ||
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Through all Elvis Costello's hate and distrust of human nature the fact cannot be ignored that he is one of the most original and interesting performers to arise within this decade. With two solid and impeccable albums behind him and a stage presence that matches the excitement and verve of the albums Elvis Costello seems destined to go far. Though it may sound presumptuous, the truth may be that Elvis is still "King." | Through all Elvis Costello's hate and distrust of human nature the fact cannot be ignored that he is one of the most original and interesting performers to arise within this decade. With two solid and impeccable albums behind him and a stage presence that matches the excitement and verve of the albums Elvis Costello seems destined to go far. Though it may sound presumptuous, the truth may be that Elvis is still "King." | ||
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{{tags}}[[This Year's Model]] {{-}} [[Steve Nieve|Steve Naive]] {{-}} [[No Action]] {{-}} [[This Year's Girl]] {{-}} [[Pump It Up]] {{-}} [[The Beat]] {{-}} [[Little Triggers]] {{-}} [[You Belong To Me]] {{-}} [[Hand In Hand]] {{-}} [[Lip Service]] {{-}} [[Living In Paradise]] {{-}} [[Watching The Detectives]] {{-}} [[Lipstick Vogue]] {{-}} [[Radio, Radio]] {{-}} [[TV 1977-12-17 Saturday Night Live|Saturday Night Live]] {{-}} [[Stiff Records]] {{-}} [[Columbia Records]] {{-}} [[Jake Riviera]] {{-}} [[My Aim Is True]] {{-}} [[Alison]] {{-}} [[(The Angels Wanna Wear My) Red Shoes]] {{-}} [[Miracle Man]] {{-}} [[Rolling Stone, December 1, 1977|Rolling Stone]] {{-}} [[Creem, February 1978|Creem]] {{-}} [[Village Voice]] {{-}} [[Bomp]] {{-}} [[Chuck Berry]] {{-}} [[Keith Richards]] {{-}} [[Bruce Springsteen]] {{-}} [[Johnny Rotten]] {{-}} [[The Sex Pistols]] {{-}} [[Buddy Holly]] | |||
{{cx}} | {{cx}} | ||
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'''The Bona Venture, May 5, 1978 | '''The Bona Venture, May 5, 1978 | ||
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[[Mike Fronczak]] reviews ''[[This Year's Model]]''. | [[Mike Fronczak]] profiles Elvis Costello and reviews ''[[This Year's Model]]''. | ||
{{Bibliography images}} | {{Bibliography images}} |
Latest revision as of 13:02, 28 June 2021
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