Elvis Costello – Classic Rock Review

My Aim is True by Elvis Costello

August 10, 2017

by Classic Rock Review with 2 Comments Album Reviews

My Aim Is True is the debut album by Elvis Costello and it introduced the world to a hybrid sound that drew near equal influence from 1950s old time rock n’ roll and 1970s cutting edge new wave and punk. The album and this artist also represented a (slightly controversial) changing of the guard in the rock world as this artist, with the adopted name “Elvis”, put out his debut album within weeks of the death of the original Elvis (Presley) during the summer of 1977.

Born Declan Patrick MacManus, this English singer/songwriter began his career as part of London’s pub rock scene in the early 1970s as well as performing in the Liverpool-based folk duo Rusty. Between 1974 and 1976, MacManus played in the rock band Flip City and adopted the stage name D.P. Costello, in tribute to his father who had performed under a similar stage name years earlier. During this time, Costello began to write original songs and a demo tape of this material led to a solo recording contract with Stiff Records and, at the suggestion of his manager, Elvis was added to his stage name for these new recordings.

My Aim Is True was recorded in multiple late-night, short studio sessions over the winter of 1976-1977. It was produced by Nick Lowe who would go on to produce each of Costello’s first five studio albums. Backing Costello for this album were members of the country/rock band Clover (originally identified as”The Shamrocks”), who added an energy which gave the production a “live” feel. Left off the album, but later released as a single, was the reggae-fused track “Watching the Detectives”, which would become Costello’s first charting hit.

My Aim is True by Elvis Costello
Released: July 22, 1977 (Stiff) Produced by: Nick Lowe Recorded: Pathway Studios, London, 1976–1977
Side One	Side Two
Welcome to the Working Week Miracle Man No Dancing Blame It on Cain Alison Sneaky Feelings	(The Angels Wanna Wear My) Red Shoes Less Than Zero Mystery Dance Pay It Back I’m Not Angry Waiting for the End of the World
Primary Musicians
Elvis Costello – Lead Vocals, Guitars, Piano John McFee – Guitars, Vocals Sean Hopper – Piano, Keyboards, Vocals Johnny Ciambotti – Bass, Vocals Mickey Shine– Drums

A prolific composer, Costello wrote all the songs on My Aim is True and, although there is a wide range stylistically from song to song, they all seem to work cohesively as an album. The short but effective “Welcome to the Working Week” quickly morphs from doo-wop to new wave before it abruptly ends after about 80 seconds of running time leading to the more substantive “Miracle Man”, a jam with rich instrumentation, an array of guitar textures and a bouncy bass by Johnny Ciambotti.

Next comes the heart of side one, starting with “No Dancing”, featuring a Phil Spector-like beat and presented as almost a ballad but with thick and complex arrangement and multiple guitar styles by Costello and John McFee. “Blame It on Cain” features great pop / rock sensibilities with an upbeat blues, Jersey Shore rock shine, while the more mellow “Alison” combines slightly jazzy guitars and soulful vocals. This great melancholy pop song was written about a checkout girl at a local supermarket and features the line which gives this album its title. “Sneaky Feelings” returns to upbeat blues/pop to complete the first side.

Elvis Costello

Side two begins with “(The Angels Wanna Wear My) Red Shoes”, featuring fine melodies complemented by lazily picked guitar and a contrasting strong drum beat by Mickey Shine. “Less Than Zero” is a steady rocker with plenty of guitar and keyboard riffs under a lyric driven screed against a British fascist, while “Mystery Dance” is a pure fifties rocker throughout with an almost-punk tempo and time. “Pay It Back” returns to the standard Costello style, well established by this point in the album. “I’m Not Angry” sees a hard rock guitar over a quirky, choppy rhythm and an amplified whisper during the choruses, making for an interesting mix of sonic effects and an overall original song. The album ends strongly with one of its finest tunes, “Waiting for the End of the World”. A nice use of dynamics between the laid back main riff and the strong chorus is combined with great percussion and a combo of rudiments throughout and a cool slide guitar in the choruses are featured in this song.

At the time of My Aim is True‘s release, Costello was still working at his “day job” and had already finished composing songs for his next album, This Year’s Model, released in 1978. Further, Costello established his permanent backing band, the Attractions. A second version of My Aim is True was recorded with the new band with the intention of replacing the original tracks contained in My Aim Is True once the initial pressings had sold out. However, this never came to pass as the original recording gained critical momentum, a momentum which continues four decades later.

Part of Classic Rock Review’s celebration of 1977 albums.

Top 9 Rock Festivals of All Time

August 17, 2014

by Ric Albano with 11 Comments Special Features

This week Classic Rock Review joins the celebration of the 45^th Anniversary of the historic 1969 Woodstock Music Festival. In conjunction with Top 9 Lists, we present a list of the Top 9 Rock Festivals of all time, along with a bonus list of Top 9 Single Day, Single Location Concerts.

1. Woodstock

August 15-18, 1969
Bethel, New York
This remains the mother of all music festivals, held at a 600-acre dairy farm owned by Max Yasgur. A series of coincidental events unfolded which effected the location and operation of this festival, which grew to become a “free” event for over 400,000 attendees. Regarded as a pivotal moment in popular music history, 32 acts performed during the rainy weekend, starting with Richie Havens, and concluding with a memorable performance by Jimi Hendrix as the crowd dispersed mid-morning on Monday, August 18^th. Woodstock was immortalized in a later documentary movie as well as a song by Joni Mitchell, who was one of many major acts that did not attend by later regretted it.

Woodstock Performers: Richie Havens, Sweetwater, Bert Sommer, Tim Hardin, Ravi Shankar, Melanie, Arlo Guthrie, Joan Baez, Quill, Country Joe McDonald, Santana, John Sebastian, Keef Hartley Band, The Incredible String Band, Canned Heat, Mountain, Grateful Dead, Creedence Clearwater Revival, Janis Joplin with The Kozmic Blues Band, Sly and the Family Stone, The Who, Jefferson Airplane, Joe Cocker and The Grease Band, Ten Years After, The Band, Johnny Winter, Blood, Sweat & Tears, Crosby, Stills, & Nash, Paul Butterfield Blues Band, Sha Na Na, Jimi Hendrix and Gypsy Sun Rainbows

Buy Woodstock soundtrack
Buy Woodstock: Three Days of Peace & Music DVD

2. Monterey Pop Festival

June 16-18, 1967
Monterey, California
Credited as the event which sparked the “The Summer of Love”, The three-day Monterey International Pop Music Festival had a rather modest attendance but was soon recognized for its importance to the performers and significance to the sixties pop scene. The lineup consisted of a blend of rock and pop acts with memorable performances by The Who and Jimi Hendrix Experience.

Monterey Pop Performers: Jefferson Airplane, The Who, The Jimi Hendrix Experience, Janis Joplin, Otis Redding, Booker T. & the MG’s, Ravi Shankar, The Mamas and the Papas

Buy Monterey Pop Festival Live album

3. Live Aid

July 13, 1985
London and Philadelphia
Still the largest benefit concert 30 years on, Live Aid was a also the first live multi-venue event, with over 70,000 at London’s Wembley Stadium and close to 100,000 at JFK Stadium in Philadelphia. Organized by musician Bob Geldof of the Boomtown Rats as relief for the Ethiopian famine, the concert evolved from Band Aid, a multi-artist group who recorded “Do They Know It’s Christmas?” in 1984. Live Aid was also one of the largest worldwide television broadcasts, with an estimated audience of 1.9 billion in about 150 nations. Memorable performances and moments included those by Queen, U2, Dire Straits, a reunited Black Sabbath, and a loose reunion by members Led Zeppelin, the first since their breakup in 1980.

Live Aid Performers: Status Quo, The Style Council, The Boomtown Rats, Adam Ant, Spandau Ballet, Elvis Costello, Nik Kershaw, Sade, Sting, Phil Collins, Branford Marsalis, Howard Jones, Bryan Ferry, David Gilmour, Paul Young, U2, Dire Straits, Queen, David Bowie, Thomas Dolby, The Who, Elton John, Paul McCartney, Band Aid, Joan Baez, The Hooters, Four Tops, Billy Ocean, Black Sabbath, Run–D.M.C., Rick Springfield, REO Speedwagon, Crosby, Stills and Nash, Judas Priest, Bryan Adams, The Beach Boys, George Thorogood and the Destroyers, Simple Minds, The Pretenders, Santana, Ashford & Simpson, Madonna, Tom Petty and the Heartbreakers, Kenny Loggins, The Cars, Neil Young, The Power Station, Thompson Twins, Eric Clapton, Led Zeppelin (announced as “Jimmy Page, Robert Plant, John Paul Jones, Tony Thompson, Paul Martinez, Phil Collins”), Duran Duran, Patti LaBelle, Hall & Oates, Mick Jagger, Eddie Kendricks, David Ruffin, Tina Turner, Bob Dylan, Keith Richards, Ronnie Wood, USA for Africa

Buy Live Aid DVD

4. Isle of Wight Festival

August 26-30, 1970
Isle of Wight, UK
In sheer numbers, the 1970 Isle of Wight Festival may be the largest ever, with estimates of over 600,000, which is an increase of about 50% over Woodstock. Promoted by local brothers Ronnie, Ray and Bill Foulk, the 5-day event caused such logistical problems (all attendees had to be ferried to the small island) that Parliament passed the “Isle of Wight Act” in 1971, preventing gatherings of more than 5,000 people on the island without a special license. Memorable performances included late career appearances by Jimi Hendrix and The Doors, and The Who, who released their entire set on the 1996 album Live at the Isle of Wight Festival 1970.

Isle of Wight 1970 Performers: Judas Jump, Kathy Smith, Rosalie Sorrels, David Bromberg, Redbone, Kris Kristofferson, Mighty Baby, Gary Farr, Supertramp, Howl, Black Widow, The Groundhogs, Terry Reid, Gilberto Gil and Caetano Veloso, Fairfield Parlour, Arrival, Lighthouse, Taste, Rory Gallagher, Chicago, Procol Harum, Voices of East Harlem, Cactus, John Sebastian, Shawn Phillips, Joni Mitchell, Tiny Tim, Miles Davis, Ten Years After, Emerson, Lake & Palmer, The Doors, The Who, Sly & the Family Stone, Melanie, Good News, Ralph McTell, Heaven, Free, Donovan, Pentangle, The Moody Blues, Jethro Tull, Jimi Hendrix, Joan Baez, Leonard Cohen, Richie Havens

Buy Message to Love, The Isle of Wight Festival DVD

5. Ozark Music Festival

July 19-21, 1974
Sedalia, Missouri
Ozark Music Festival stage “No Hassles Guaranteed” was the motto of the Ozark Music Festival, held at the Missouri State Fairgrounds in 1974. While this festival offered an impressive lineup of artists as well as a crowd upwards of 350,000 people, the Missouri Senate later described the festival as a disaster, due to the behaviors and destructive tendencies of the crowd.

Ozark Music Festival Performers: Bachman–Turner Overdrive, Aerosmith, Premiata Forneria Marconi, Blue Öyster Cult, The Eagles, America, Marshall Tucker Band, The Nitty Gritty Dirt Band, Boz Scaggs, Ted Nugent, David Bromberg, Leo Kottke, Cactus, The Earl Scruggs Revue, Lynyrd Skynyrd, Electric Flag, Bob Seger & the Silver Bullet Band, Joe Walsh and Barnstorm, The Souther Hillman Furay Band, The Ozark Mountain Daredevils, Charlie Daniels Band, REO Speedwagon, Spirit

6. US Festival

May 28-30, 1983
Devore, California
Steve Wozniak’s US Festivals were staged on two occasions in September 1982 and May 1983. The second of these was packed with a lineup of top-notch eighties acts who performed in an enormous state-of-the-art temporary amphitheatre at Glen Helen Regional Park.

1983 US Festival Performers: Divinyls, INXS, Wall of Voodoo, Oingo Boingo, The English Beat, A Flock of Seagulls, Stray Cats, Men at Work, The Clash, Quiet Riot, Mötley Crüe, Ozzy Osbourne, Judas Priest, Triumph, Scorpions, Van Halen, Los Lobos, Little Steven & the Disciples of Soul, Berlin, Quarterflash, U2, Missing Persons, The Pretenders, Joe Walsh, Stevie Nicks, David Bowie

7. The Crossroads Guitar Festival

June 4-6, 2004
Dallas, Texas
Starting in 2004, the Crossroads Guitar Festivals have been held every three years to benefit the Crossroads Centre for drug treatment in Antigua, founded by Eric Clapton. These concerts showcase a variety of guitarists, with the first lineup at the Cotton Bowl stadium in 2004 featuring some legends along with up-and-comers hand-picked by Clapton himself.

2004 Crossroads Guitar Festival Performers: Eric Clapton, Johnny A, Vishwa Mohan Bhatt, Ron Block, Booker T. & the M.G.’s, Doyle Bramhall II, JJ Cale, Larry Carlton, Robert Cray, Sheryl Crow, Bo Diddley, Jerry Douglas, David Honeyboy Edwards, Vince Gill, Buddy Guy, David Hidalgo, Zakir Hussain, Eric Johnson, B.B. King, Sonny Landreth, Jonny Lang, Robert Lockwood, Jr., John Mayer, John McLaughlin, Robert Randolph, Duke Robillard, Carlos Santana, Hubert Sumlin, James Taylor, Dan Tyminski, Steve Vai, Jimmie Vaughan, Joe Walsh, ZZ Top, David Johansen

Buy Eric Clapton: Crossroads Guitar Festival 2004 DVD

8. Live 8

July 2, 2005
Locations world wide
Held 20 years after he organized Live Aid, Bob Geldof’s Live 8 was even more ambitious, being held in nine different locations around the world on the same day. Timed to coincide with the G8 conference in Scotland that year, the goal was to raise money to fight poverty in Africa. The most memorable moment from the concerts was at Hyde Park in London where the classic lineup of Pink Floyd reunited for the first time in over two decades.

Live 8 Performers: U2, Paul McCartney, Annie Lennox, Mariah Carey, R.E.M. The Killers, The Who, UB40, Pink Floyd, Elton John, Bob Geldof, Velvet Revolver, Madonna, Coldplay, Robbie Williams, Will Smith, Alicia Keys, The Black Eyed Peas, Kanye West, Linkin Park, Jay-Z, Rob Thomas, Sarah McLachlan, Stevie Wonder, Maroon 5, Deep Purple, Neil Young, Buck Cherry, Bryan Adams, Mötley Crüe, Brian Wilson, Green Day, a-Ha, Roxy Music, Dido, Peter Gabriel, Snow Patrol, The Corrs, Zola, Lucky Dube, Jungo, Pet Shop Boys, Muse, The Cure

Buy Live 8 DVD

9. Woodstock ’94

August 12-14, 1994
Saugerties, New York
Organized to commemorate the 25^th anniversary of the original Woodstock festival, Woodstock ’94 was promoted as “3 More Days of Peace and Music”. in fact, this concert took place near the originally intended location of that first show and other similarities such as common performers, similar crowd size, rain, and mud.

Woodstock ’94 Performers: Blues Traveler, Candlebox, Collective Soul, Jackyl, King’s X, Live, Orleans, Sheryl Crow, Violent Femmes, Joe Cocker, Blind Melon, Cypress Hill, Rollins Band, Melissa Etheridge, Crosby, Stills, & Nash, John Sebastian, Nine Inch Nails, Metallica, Aerosmith, Country Joe McDonald, Sisters of Glory, Arrested Development, Allman Brothers Band, Traffic, Santana, Green Day, Paul Rodgers Rock and Blues Revue, Spin Doctors, Porno For Pyros, Bob Dylan, Red Hot Chili Peppers, Peter Gabriel

Read more on Woodstock ’94 from our recent Comebacks and Reunions special feature

Bonus Top 9 List: Best Single Day, Single Location Shows

1. The Concert for New York City October 20, 2001. New York, NY
2. The Band’s Last Waltz November 25, 1976. San Francisco, CA
3. Atlantic Records 40^th Anniversary Celebration May 14, 1988. New York, NY
4. Concert for Bangladesh August 1, 1971. New York, NY
5. Knebworh Festival June 30, 1990. Knebworth, UK
6. Texxas Jam July 1, 1978. Dallas, TX
7. Farm Aid September 22, 1985. Champaign, IL
8. Canada Jam August 26, 1990. Bowmanville, Ontario
9. Altamont Free Concert December 6, 1969. Tracy, CA

Ric Albano

This Year’s Model by Elvis Costello

September 27, 2013

by Classic Rock Review with No Comment Album Reviews

Buy This Year’s Model

1978 was a breakthrough year for Elvis Costello. His second album, This Year’s Model, was released in the Spring featuring his backing band, The Attractions, for the first time. Further, My Aim Is True, Costello’s 1977 debut album, was re-released internationally following his signing with Columbia Records. Much of the material for This Year’s Model is comprised largely of leftovers from My Aim Is True and the tour which followed. While the debut featured a more retro sound, this album leans more towards punk, with the Attractions adding a reckless rock edge. Produced by Nick Lowe, Costello and the Attractions speed through the album’s tracks at a frantic and blinding pace.

Different releases of the album contained different tracks. The single “Radio, Radio”, a song protesting the commercialization of radio broadcasts and recording studios, appeared on the US version of the album. The subjects of this song caused much hesitation over when and where it was to be broadcasted. In December 1977, Costello was a last minute replacement on Saturday Night Live and was instructed to play the song “Less than Zero.” However, after a few bars, Costello turned to the Attractions, waved his hand to stop and then led the band in a performance of “Radio, Radio.” Costello was banned from SNL for a dozen years afterward.

Nervous energy drives the action in This Year’s Model, a 35 minute journey of sweet pop-driven blasts. Brief as it is, the entire album is filled with hooks, efficient without excess.

This Year’s Model by Elvis Costello
Released: March 17, 1978 (Columbia) Produced by: Nick Lowe Recorded: Eden Studios, London, 1977–78
Side One	Side Two
No Action This Year’s Girl The Beat Pump It Up Little Triggers You Belong to Me	Hand In Hand (I Don’t Want to Go to) Chelsea Lip Service Living In Paradise Lipstick Vogue Night Rally
Primary Musicians
Elvis Costello – Guitars, Vocals Steve Nieve – Piano, Organ Bruce Thomas – Bass Pete Thomas – Drums

In less than two minutes, “No Action” sets the pure punk pace right from the jump. The organ by Steve Nieve adds a little melody and high-end flourishes to the song’s paranoia. “This Year’s Girl” follows as more retro pop than punk, with a fuzzy guitar that is somewhat obscured by the swirling organ during this de facto title song of the album. Lyrically, the song is a downright vicious indictment of a socialite/hipster, becoming a centerpiece of Costello’s early work.

After the weaker track “The Beat”, comes “Pump It Up”, a driving, riff-driven rock song fused with eros and frantic lyrics. It is an especially good track for bassist Bruce Thomas. “Little Triggers” is a mellow and emotional piece and the closest thing to a ballad on this album. The first side closer “You Belong to Me” is the best song on the first side. With McCartney-like vocals, the upbeat and direct tune is not at all ambiguous lyrically, vocally, or sonically. Reverted to the pattern of the first album, the song is a tribute to garage rock with Nieve’s whiny Vox Continental organ line and Costello’s echoed and twangy lead guitar.

The second side begins with a quintessential Elvis Costello pop song called “Hand in Hand”, a short, melodic, direct, and entertaining tune. “(I Don’t Want to Go to) Chelsea” features a very new wave syncopation and beat complete with ska-influenced odd timings under a very standard melody and big tremolo organ sound. The song was left off the original U.S. release because record execs thought the theme was too “British”.

“Lip Service” contains nice riffing in a generally pop-oriented tune while “Living in Paradise” is fueled by Nieve’s new wave synth in tandem with Thomas’ rolling bass. The mood oriented “Lipstick Vogue” is driven by a frenzied beat by drummer Pete Thomas along with bassist Bruce Thomas (no relation). Perhaps the most punk of any song on the album, the song serves as a showcase for the new group’s extraordinary energy along with the scornful cynicism of Costello’s lyrics.

The album concludes with “Night Rally”, which works like a sixties British pop song updated for seventies new wave. A calm but apt closer for the album, “Night Rally” demonstrates how Costello’s songs seem to work best when they are short, direct, and to the point, in this case the subject is an expose on fascism.

After a North American tour and some personal and professional controversy, Costello and the Attractions continued the momentum into 1979 with the production of his released his third album Armed Forces.

Part of Classic Rock Review’s celebration of 1978 albums.

East Side Story by Squeeze

March 22, 2011

by Classic Rock Review with No Comment Album Reviews

Buy East Side Story

East Side Story is the fourth studio album by Squeeze, released in 1981. The album signified a break with the band’s traditional “new wave” sound towards more divergent styles and genres including progressive rock, soul, and psychedelia. The band originally wanted to do a four-sided “double LP” with each side using a different producer – Dave Edmunds, Nick Lowe, Paul McCartney, and Elvis Costello. In the end, Squeeze released a long 14-song single LP with Costello co-producing along with Roger Bechirian. Under Costello’s guidance, the band produced an album of smart, uptempo pop tunes which guitarist Chris Difford labled as “suburban short stories.”

Difford founded Squeeze in 1974 along with lead singer and multi-instrumentalist Glenn Tilbrook. The group was named after The Velvet Underground’s oft-derided 1973 album and found moderate success in the London suburbs in the mid 1970s. After signing with A&M Records, the band released a self-titled debut album in 1978, followed by Cool For Cats in 1979 and Argybargy in 1980, each of which were fine albums but strictly within the confines of the newly coined “new wave” genre.

With East Side Story, the band recorded their masterpiece as they branched out to explore other facets of their talents. With the variety of genres explored, the production of Costello, and the fully developed songwriting of Difford and Tilbrook East Side Story has the feel of the double-album it was originally intended to be.

East Side Story by Squeeze
Released: May 15, 1981 (A&M) Produced by: Roger Bechirian & Elvis Costello Recorded: London, 1980-1981
Side One	Side Two
In Quintessence Someone Else’s Heart Tempted Piccadilly There’s No Tomorrow Heaven Woman’s World	Is That Love? F-Hole Labelled With Love Someone Else’s Bell Mumbo Jumbo Vanity Fair Messed Around
Band Musicians
Glenn Tilbrook – Lead Vocals, Guitars Chris Difford – Guitars, Vocals Paul Carrack – Keys, Vocals John Bentley – Bass Gilson Lavis – Drums

The album begins with “In Quintessence”, an upbeat song with repetitive phrasing and simultaneous vocals by Tilbrook and Difford throughout. This is followed by “Someone Else’s Heart” (not to be confused with “Someone Else’s Bell” on the second side of the album), which harkens back to the new-wave-ish sound with a crisp organ and subdued vocals with fantastic harmonies.

Later on the album’s first side is the album’s finest sequence of songs. “Piccadilly” starts with an excellent piano before settling into a simple, upbeat, three-chord rock groove with chanting vocals delivered in a linear, story-telling fashion. “There’s No Tomorrow” contains a heavy dose of Beatle-esque surrealism with a dramatic key riff and backwards-masked percussion along with Costello on backing vocals. The ska influenced “Heaven” is an excellent song which contains a great bass line and weird sound effects after the chanting choruses. Later in the song their is a banjo section with some weird, vocalized animal sounds. The side ends with “Woman’s World”, a good pop song with nice piano note runs, building ascension in the late verses, and a great key jump later on.

By far the best song on the album, “Tempted” contains a great thumping bass line by John Bentley under the subtlely swelling organ by band newcomer Paul Carrack, who was a member of Squeeze for this one album. Carrack also sang most of the seductive lyrics with some cool secondary and background vocals. The band’s first “hit” in the U.S., “Tempted” has become one of Squeeze’s most well known songs as it is infectiously catchy and never seems to grow old. It is quite ironic that, with short-timer Carrack at the lead, most passive fans are unaware of the basic sound of the band as normally led by Tilbrook’s vocals.

Although much weaker than the first, the second side of the album does contain a few very interesting tracks. “Is That Love” was the first single released from the album, while “F-Hole” contains thick strings and an almost psychedelic approach. “Labelled With Love” contains a pure country rhythm with calm acoustic guitar, piano, and rim-shot drums overlaid by some good guitar later on. It was a song recorded as a semi-farce and Tilbrook initially objected to its inclusion on the album but was convinced by Costello and it became a minor hit. “Vanity Fair” uses orchestration much like later-era Beatles albums with no rock instrumentation, just vocals, while the album concludes with “Messed Around”, a rockabilly song much like the Stray Cats, that would be more convincing without the vocals of Tilbrook.

After a fifth album was released in 1982, Squeeze took a break for a while before reforming later in the decade. Although they continued to record interesting music, the band would not again reach the heights of East Side Story.

Part of Classic Rock Review’s celebration of 1981 albums.