40 Years Ago

Pretty self-explanatory
sulky lad
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40 Years Ago

Postby sulky lad » Mon Oct 16, 2017 2:50 pm

I think I might as well start this topic as I will be encouraging all well known posters on this site to keep on uploading their live recordings from this period.
Just a quick query as we approach October 21st. The recording that I'm aware of at this time is from Salford University as advertised in both the NME and MM of this period as part of the Live Stiffs Live package tour. However, the wiki states that a concert took place in the Apollo Theatre, Manchester on this night; they refer to a Manchester Music Archive which has a picture of part of a ticket but which definitely looks like it might be from Apollo Theatr "e, Manchester"
So which is true - the original cassette recording that was the source for my good friend was just a hand written paper cover. Did anyone attend the Manchester show, was Salford scrapped for a larger venue or did it take place on the 20th or 23rd between other shows ?!
Any revelations greatly appreciated !

Azmuda
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Re: 40 Years Ago

Postby Azmuda » Mon Oct 23, 2017 2:05 am

sulky lad wrote:I think I might as well start this topic as I will be encouraging all well known posters on this site to keep on uploading their live recordings from this period.
Just a quick query as we approach October 21st. The recording that I'm aware of at this time is from Salford University as advertised in both the NME and MM of this period as part of the Live Stiffs Live package tour. However, the wiki states that a concert took place in the Apollo Theatre, Manchester on this night; they refer to a Manchester Music Archive which has a picture of part of a ticket but which definitely looks like it might be from Apollo Theatr "e, Manchester"
So which is true - the original cassette recording that was the source for my good friend was just a hand written paper cover. Did anyone attend the Manchester show, was Salford scrapped for a larger venue or did it take place on the 20th or 23rd between other shows ?!
Any revelations greatly appreciated !


Some long-forgotten research is here:

http://www.elviscostello.info/wiki/index.php/Talk:Concert_1977-10-21_Manchester

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krm
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Re: 40 Years Ago

Postby krm » Mon Oct 23, 2017 11:05 am

Bruce Thomas old itenary that he published some months ago could be added here as a reference too. But I am sure you have that one on top of your desk already. This might or might not help out.
LiveStiffsTour.jpg
LiveStiffsTour.jpg (103.32 KiB) Viewed 5077 times

http://www.brucethomas.co.uk/?p=1961

sulky lad
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Re: 40 Years Ago

Postby sulky lad » Mon Oct 23, 2017 12:19 pm

Thanks, Kjell, I have it somewhere but I couldn't lay hands on it at the time,.
thanks also for Mojo form guiding me in the right direction !!

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Re: 40 Years Ago

Postby johnfoyle » Mon Nov 20, 2017 1:45 pm

Theresa Kereakes permits me to share her photo of Elvis on stage in Los Angeles on November 19 1977. 'Elvis is holding a broken glass. He broke his glass of water to shake it at a heckler', she comments. 'That photo is included in my exhibit at @gethiprecords Store’s Black Friday shindig.'

http://www.unguardedmoments.info/

http://www.elviscostello.info/wiki/inde ... os_Angeles

Image

Image

emotional_fascism076
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Re: 40 Years Ago

Postby emotional_fascism076 » Thu Nov 23, 2017 1:27 am

Thanks for sharing that photo. Is there anything on what happened at this show out there?

johnfoyle
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Re: 40 Years Ago

Postby johnfoyle » Fri Nov 24, 2017 5:04 am

Thanks for sharing that photo. Is there anything on what happened at this show out there.




This is how EC remembers it in UM&DI:

"...some boorish, drunken English bloke forced himself into the center of the crowd, his hands roaming uninvited over a girl who was pressed up against the front of the stage. Ever the gallant, I smashed a bottle that someone had conveniently left between my vocal monitors and made some kind of offer with the jagged end that I never really saw myself following up on. Mercifully, the lout was hustled out of the premises before anybody's blood was spilled."

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Re: 40 Years Ago

Postby johnfoyle » Fri Nov 24, 2017 12:12 pm

https://twitter.com/ElvisCostello/statu ... 0445472771


Feb. '77 ? More likely Nov. 77. Still , it's great to see Elvis's Twitter account getting in on this.

sulky lad
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Re: 40 Years Ago

Postby sulky lad » Sat Nov 25, 2017 2:08 am

I wonder if he's listening to any of the old recordings that are doing the rounds in celebration ? :shock:

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Re: 40 Years Ago

Postby sulky lad » Sat Jan 20, 2018 4:36 am

So, 40 years ago today I attended my first Elvis Costello gig at the Roundhouse in London.
A scene setting is probably overkill but I still feel excited about it and this nostalgia is a bit precious to me !
I was brought up in a village in West Devon in a most rural setting and had a sheltered happy upbringing where everyone knew me and my family because of our connection to the local chapel and my family's bakery business. I spent my early weekends and holidays driving around the village with my parents, delivering bread and attending church functions and local football matches. After taking "A" levels and with no idea what I was going to do with my life, I failed to get into medical school with my grades but was offered a choice of either London or Surrey University. Naively, my father had heard Surrey had "an immoral" reputation and so I left home with an enormous suitcase early in October 1977 for London and stayed with the mother and step-father of a fellow 6th former in Highbury, North London who took me in and made my transition so easy as I slipped into a family home. I will never be able to thank them or repay them for their kindness to me over the three years as an under-graduate. My first term was a tumultuous rush of new experiences and rapid growing up and I was befriended by a fellow undergrad who decided my musical tastes needed broadening and so, In January 1978 we met at Camden tube station and made our way to the Roundhouse for a free gig by Elvis and The Attractions. I know he had contacts within the music business and we had no problem getting our free tickets and entering the old railway shed.
Sadly, I recall little of that gig, except for the comments about needing a bottle of water to wash my hair afterwards - (I'm sure I've explained that before on this forum). I know at the time we saw quite a few punk/new wave bands together and I can only remember the excitement of these shows even if most of the bands disappeared without a trace. My friend Graham hardly ever paid for tickets and indeed we were planning to see Elvis at the Dominion Theatre in December of 1978 but he had been obliged to go home at the end of term before these gigs and then was tragically killed in a motorbike accident over the Christmas holiday.
Today I'm grateful to my landlord and landlady and their sweet daughter Lesley and to Graham (RIP) who planted seeds that have dominated my musical life ever since. Although not fantastically overwhelmed by the gig, I did go to Camden market within a couple of weeks and bought a cassette of the Roundhouse show from a trader who, for the whole of the time I was in London, always had a huge number of bootleg shows available within hours of their recording and who always was knowledgeable and friendly. The recording captured some of the excitement, and Elvis' fury at the amount of spitting that had been going on throughout the show and this apparently caused him to only perform one encore. I have a feeling Night rally struck a chord but this may just be a 40 year old desire to have been "right-on" politically after all these years ! No doubt this show will appear at some stage on some well know torrent site ?! :shock:

emotional_fascism076
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Re: 40 Years Ago

Postby emotional_fascism076 » Thu Jan 25, 2018 1:26 am

Thanks for sharing your story. It makes me want to find this recording. Sounds like quite a gig.

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Re: 40 Years Ago

Postby sweetest punch » Sat Mar 17, 2018 10:27 am

This Year’s Model was released on March 17, 1978 in the UK: http://ultimateclassicrock.com/elvis-co ... ars-model/

40 years ago: Elvis Costello releases his masterpiece, “This Year’s Model”

Elvis Costello's debut album, 1977's My Aim Is True, arrived less than a year before its follow-up, This Year's Model. But the two records boasted a sound, style and attitude that were far removed from each other -- a sign of things to come from the singer-songwriter, whose restless catalog has swung from one genre to another with little dip in quality along the way.

My Aim Is True was recorded in 1976 and 1977 in London by Costello, who was born there, and a California-based country-rock band called Clover that included members who would later join Huey Lewis and the News and the Doobie Brothers. (Lewis was actually a member of Clover at the time but did not appear on the album, which didn't credit the band because of contractual reasons.)

For This Year's Model, Costello enlisted his own band, the Attractions, which he formed after the release of his debut. (Even though they did receive credit, they didn't receive an official cover co-billing until 1979's Armed Forces.) And the upgrade, or at least the familiarity of working with musicians he had spent plenty of time on the road with at that point, pushed Costello's second LP to new levels of intensity. Not that My Aim Is True didn't have that; This Year's Model just had more of it.

The critical success of My Aim Is True also gave Costello more confidence as a songwriter. At 23, he was one of the best young writers of the era, pulling from earlier artists as much as he was riding the new wave of punk upstarts. With This Year's Model, released on March 17, 1978, Costello made his masterpiece -- an album that bridged his brief past with his wide-open future.

The album's sessions started in late 1977 and ended in early 1978 at London's Eden Studios, with Nick Lowe, who worked on My Aim Is True, once again producing. More than a dozen songs were recorded, including some of his most enduring songs: "No Action," "Pump It Up," "(I Don't Want to Go to) Chelsea," "Lipstick Vogue" and "Radio, Radio," among them.

When it came time to release the LP in the U.S., a couple months after the original U.K. debut, two songs were dropped from the track listing -- "(I Don't Want to Go to) Chelsea" and "Night Rally," reportedly because they were too British for American ears -- and replaced by "Radio, Radio," which was released in Costello's home country seven months later as a stand-alone single.

By the time "Radio, Radio" made its debut on record, it was already a notorious chapter in Costello's short history after he and the Attractions played Saturday Night Live in December 1977 (filling in for the missing Sex Pistols, who were having problems securing visas). Costello was scheduled to perform "Less Than Zero" from My Aim Is True, which still wasn't officially available in the States, but changed course after a couple seconds and launched into "Radio, Radio" instead. As a result, he was banned from the TV show for a dozen years, before being invited back in 1989, when he repeated the stunt, this time with the Beastie Boys and with SNL's consent, on the program's 25th anniversary special.

The song serves as a linchpin of This Year's Model, even though it wasn't part of the original release and closed the album it first appeared on. It represented a more robust sound for Costello, thanks to both the addition of the Attractions and Lowe's punchier production, and a more biting undertone that helped build Costello's standing as one of punk's most promising Angry Young Men.

He also became one of the era's most prolific genre jumpers, making R&B, country, baroque pop and Americana albums over the next decade. But This Year's Model serves as Costello's model, the record that introduced Steve Nieve's defining keyboard riffs and fills, a sturdier musical backing and Costello's sneering vocals -- all of which would find their way in and out of various albums over the years. He's made more cohesive records since then. And more innovative ones. But he's never made a better one.
Since you put me down, it seems i've been very gloomy. You may laugh but pretty girls look right through me.

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supplydavid
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Re: 40 Years Ago

Postby supplydavid » Mon Mar 19, 2018 5:09 am

March 22nd Newcastle City Hall 1978, my first show, the wiki shows audience recording exists, anyone able to help me with a copy?

sulky lad
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Re: 40 Years Ago

Postby sulky lad » Mon Mar 19, 2018 9:36 pm

Once I've sorted out my "DAD" issues, should be a recording surfacing there !

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Re: 40 Years Ago

Postby Top balcony » Tue Mar 20, 2018 6:31 pm

supplydavid wrote:March 22nd Newcastle City Hall 1978, my first show, the wiki shows audience recording exists, anyone able to help me with a copy?

sulky lad wrote:Once I've sorted out my "DAD" issues, should be a recording surfacing there !


if Mr Lad's prediction does come to pass and another from the attic does surface I'll forward to you.

Colin Top Balcony

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Re: 40 Years Ago

Postby sweetest punch » Thu Jan 10, 2019 1:38 am

https://bestclassicbands.com/elvis-cost ... es-1-9-19/

Elvis Costello: ‘Armed Forces’ @40

What a difference an ocean makes. In the U.K. and Europe, Elvis Costello’s third album, Armed Forces, could be heard as a leap forward in songcraft and sonic ambition, a song cycle weaving the personal and political into a survey of “emotional fascism” in a showcase for the elegant interplay of Costello’s band, the Attractions, accorded far more studio polish than its full-length predecessor. Released 40 years ago, on January 5, 1979, the LP also marked the first time the band enjoyed co-billing with its leader.

For many North American fans, the album’s legacy has been eclipsed by a last-minute swap that replaced a Costello original with a one-off cover of a Brinsley Schwarz song written by former front man and Costello producer Nick Lowe, the now anthemic “(What’s So Funny ’Bout) Peace, Love and Understanding.” As a warmup for their own album, Costello and the Attractions bashed out a fast and furious cover of the Lowe song, pumping up the original’s rhythm guitar riffs into a virtual barrage against Costello’s howled vocals.

Like Costello’s prior studio work, the song was recorded live with minimal overdubs. Billed as Nick Lowe and His Sound, the track was cut as B-side to the pending single of Lowe’s “American Squirm,” stripping away Lowe’s tongue-in-cheek earnestness and power pop bloom to transform the song into a cri de Coeur of authentic, pissed-off rage.

The performance is undeniably powerful—and conspicuously out of place in the sonic landscape and thematic context of the Costello album. But Columbia Records, his U.S. label, was anxious to seed radio airplay, and had already set precedent with its revised track sequences for both of Costello’s prior albums. In his superb memoir, Unfaithful Music & Disappearing Ink, Costello asserts executives were worried that some of the material was “too English” in its lyric references and cultural perspective. Thus, “Sunday’s Best,” a sardonic waltz echoing English music hall tropes and explicit homeland allusions, was jettisoned and “(What’s So Funny)…” was added as the LP’s last song.

Armed and dangerous: Pete Thomas, Steve Nieve, Elvis Costello and Bruce Thomas
The sonic gulf between the guitar onslaught of the Nick Lowe cover version and the rest of Armed Forces is sharply defined by comparison to the intricate arrangements and spacious mixes that dominate the rest of the album, starting with the opening “Accidents Will Happen.”

“Oh, I just don’t know where to begin,” sings Costello before the Attractions kick into gear, a line that signals the singer’s frustration while offering a sly bit of misdirection. Apart from beginning the album, the statement belies the meticulous detail and verbal ingenuity heard throughout the dozen originals on the U.K. version. However angry Costello’s image may have seemed, the songs convey the musical imagination of a wide-ranging pop magpie as well as word-drunk verbal acuity.

Both My Aim is True, Costello’s 1977 debut, and 1978’s This Year’s Model had been recorded swiftly, with producer Lowe cutting Costello live in the studio with minimal overdubs, trading live-wire immediacy for nuance. For the next album’s sessions, the team took six weeks, a luxury compared with the 24 hours needed to cut the debut. The power heard in the Attractions’ tough, sinewy playing on the second album meanwhile deepened; the band’s frequent touring had accelerated a learning curve. That enabled Costello and his bandmates to work out more intricate arrangements in which keyboard player Steve Nieve, bassist Bruce Thomas and drummer Pete Thomas (no relation) created interlocking parts. The thin, reedy signature of Nieve’s Vox Continental organ was now cushioned by lusher synthesizers and grand piano to sculpt a wide, orchestral space decorated with Bruce Thomas’ contrapuntal bass figures.

The pop instincts lurking beneath Costello’s aggression surface repeatedly across the albums, most explicitly on “Oliver’s Army,” a scathing and, yes, very English broadside against militarism and the class warfare underlying its history in Britain. With its name-check of Oliver Cromwell, its shout-out to the cannon fodder of “the boys from the Mersey and the Thames and the Tyne,” and a snapshot of British soldiers in Northern Ireland, the track is stridently political, only heightening the irony of the music: Costello’s crooned vocals are set against a widescreen arrangement punctuated by Nieve’s exuberant piano flourishes, a touch Costello himself cheerfully cites as influenced outright by ABBA’s “Dancing Queen.”

Add Costello’s soulful vocal tag on the fade, a note-for-note salute to Ronnie Spector’s ecstatic coda on Phil Spector’s Ronettes classic, “Be My Baby,” and it’s clear that Costello delighted in lifting ideas from a wider swatch of styles than new wave fashionistas might have bargained for, such as the dense chromatic vocal harmonies overdubbed on the title refrain in “Moods for Moderns.” At the same time, the material’s Anglocentric imagery and recurrent conflation of romantic and sexual encounters with British politics provide context for both the final album title and the “emotional fascism” initially considered and then relegated to an inner sleeve copy line. The concept is evoked precisely on “Green Shirt,” a song in which seduction and indoctrination mingle ominously.

Musically, “Green Shirt” typifies the band’s nearly telepathic agility. Pete Thomas’ drumming is rooted in economy, subtracting elements in the service of skeletal riffs that push and pull against Nieve’s lean keyboard figures to provide a coiled tension the track. The lyrics’ title garment serves both as a totem of sexual desire and a play on the infamous “brown shirts” of Germany’s Nazi Party. Elsewhere, Costello invokes thug threats in “Goon Squad” and leans into a “final solution” as a provocative metaphor in “Chemistry Class.” And in the track that closes Radar’s British version of Armed Forces, the political and personal equation is spelled out in “Two Little Hitlers.” With Margaret Thatcher’s election as British Prime Minister in the months after Armed Forces’ release, Costello’s ominous preoccupations seemed prescient.

While critics were nearly unanimous in hailing the musical growth heard on Armed Forces, there was less agreement about the material’s dark thematic heart, a pessimism verging on nihilism that Costello would himself later characterize as steeped in “paranoia.” That makes the bruised idealism of Lowe’s “(What’s So Funny ‘Bout) Peace, Love and Understanding” stand out even more boldly. The track became the U.S. album’s most recognizable moment, and with yet another cover, Curtis Stiger’s rendition on the hit soundtrack to The Bodyguard, not only extended its reach but revitalized Nick Lowe’s third act as a solo singer and songwriter.
Since you put me down, it seems i've been very gloomy. You may laugh but pretty girls look right through me.


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