Daily Princetonian, April 3, 1986: Difference between revisions
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And like Costello's finest work, ''Imperial Bedroom'' and ''Armed Forces'', the new disk showcases a mishmash of styles. "Lovable" is a rousing rockabilly number. "The Big Light" is a country-western hangover song. "Sleep of the Just" is a quiet ballad. Each cut is a capsule of emotion, energy and setting. | And like Costello's finest work, ''Imperial Bedroom'' and ''Armed Forces'', the new disk showcases a mishmash of styles. "Lovable" is a rousing rockabilly number. "The Big Light" is a country-western hangover song. "Sleep of the Just" is a quiet ballad. Each cut is a capsule of emotion, energy and setting. | ||
Costello's cover version of the Animals' "Don't Let Me Be Misunderstood" is irresistably gruff and tense, as is the other non-Costello tune, "Eisenhower Blues." Neither cover is a throwaway. Both have their place in the album's American motif, and both are simply great songs. "Poisoned Rose" stands out as the album's romantic killer and is my favorite. Slow, jazzy instrumentation and passionate vocals hint that Costello's got his soul back. Another gem, "Little Palaces," converts punk anger into folk angst: "It's like shouting in a matchbox/ Made of plasterboard and hope/ Like a picture of Prince William/ In the arms of John the Pope." | Costello's cover version of the Animals' "Don't Let Me Be Misunderstood" is irresistably gruff and tense, as is the other non-Costello tune, "Eisenhower Blues." Neither cover is a throwaway. Both have their place in the album's American motif, and both are simply great songs. "Poisoned Rose" stands out as the album's romantic killer and is my favorite. Slow, jazzy instrumentation and passionate vocals hint that Costello's got his soul back. Another gem, "Little Palaces," converts punk anger into folk angst: ''"It's like shouting in a matchbox / Made of plasterboard and hope / Like a picture of Prince William / In the arms of John the Pope."'' | ||
Frankly, there's not a worthless song on ''King of America''. Each cut contributes to the record's concept: a Brit's vision of the sound, lust and demands of the United States. Nat King Cole, Eisenhower, Judy Garland, Coke and ABC appear as icons in front of a backdrop of American jazz, soul, folk, and country music. Costello searches for a home, either the dour England of "Little Palaces" or the hokey, commercial U.S.A. of "Glitter Gulch" and "American Without Tears." | Frankly, there's not a worthless song on ''King of America''. Each cut contributes to the record's concept: a Brit's vision of the sound, lust and demands of the United States. Nat King Cole, Eisenhower, Judy Garland, Coke and ABC appear as icons in front of a backdrop of American jazz, soul, folk, and country music. Costello searches for a home, either the dour England of "Little Palaces" or the hokey, commercial U.S.A. of "Glitter Gulch" and "American Without Tears." |
Revision as of 03:47, 26 January 2015
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