Orange County Register, March 28, 2005: Difference between revisions
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That's been Costello's approach on his past few L.A. stops. But this time, toting material from ''The Delivery Man'', his best work since the mid-'80s, the mix was heartier, less dour and more diverse than those recent shows. | That's been Costello's approach on his past few L.A. stops. But this time, toting material from ''The Delivery Man'', his best work since the mid-'80s, the mix was heartier, less dour and more diverse than those recent shows. | ||
Adding to the greatness of the new collection, a rootsy affair cut mostly in Mississippi, is its ability to complement virtually every facet of its author's career. That much he proved right away: a string of ''Delivery'' tunes — the ramshackle "Button My Lip," the soulful "Country Darkness," the cyclonic groove of "Bedlam," the eventual bluesy strut of "Needle Time" — made perfect sense coming after a roaring opening of two from 1986's ''Blood | Adding to the greatness of the new collection, a rootsy affair cut mostly in Mississippi, is its ability to complement virtually every facet of its author's career. That much he proved right away: a string of ''Delivery'' tunes — the ramshackle "Button My Lip," the soulful "Country Darkness," the cyclonic groove of "Bedlam," the eventual bluesy strut of "Needle Time" — made perfect sense coming after a roaring opening of two from 1986's ''Blood & Chocolate'' (that album's start and finish, actually), the gem "Possession" and the staple "Radio, Radio." | ||
From there, his selections veered in all directions. | From there, his selections veered in all directions. | ||
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Logically, he dabbled in country, reviving two cuts penned for giants ("Hidden Shame" for Johnny Cash, "Stranger in the House" for George Jones) and tossing in three remakes from his 1981 Nashville detour, ''Almost Blue''. (Curiously, he offered nothing from ''King of America'', the clearest correlative to ''The Delivery Man''.) | Logically, he dabbled in country, reviving two cuts penned for giants ("Hidden Shame" for Johnny Cash, "Stranger in the House" for George Jones) and tossing in three remakes from his 1981 Nashville detour, ''Almost Blue''. (Curiously, he offered nothing from ''King of America'', the clearest correlative to ''The Delivery Man''.) | ||
He grabbed "In the Darkest Place" back from his Bacharach collaboration. He peppered stretches of obscurities with more famous ones — "Accidents Will Happen, "Clubland" and "Watching the Detectives." Indeed, he played lots from his 1977 debut, ''My Aim Is True'', perhaps because session pro John McPhee was on hand to bring pedal steel back to "Blame It on Cain" and expertly re-create lyrical lines in "Alison" few audiences have heard since way back when. | He grabbed "In the Darkest Place" back from his Bacharach collaboration. He peppered stretches of obscurities with more famous ones — "Accidents Will Happen, "Clubland" and "Watching the Detectives." Indeed, he played lots from his 1977 debut, ''My Aim Is True'', perhaps because session pro <!-- John McPhee --> John McFee was on hand to bring pedal steel back to "Blame It on Cain" and expertly re-create lyrical lines in "Alison" few audiences have heard since way back when. | ||
And when Costello appeared ready to conclude his main set with "Pump It Up," he didn't let up, barreling into a cover of "Mystery Train," resurrecting his own chaotic "Hurry Down Doomsday (The Bugs Are Taking Over)" and two by pal Nick Lowe — "Heart of the City" and the immortal "(What's So Funny 'Bout Peace, Love and Understanding") — before tumbling into a jaw-dropping take on the riveting "I Want You," his face illuminated by a footlight. | And when Costello appeared ready to conclude his main set with "Pump It Up," he didn't let up, barreling into a cover of "Mystery Train," resurrecting his own chaotic "Hurry Down Doomsday (The Bugs Are Taking Over)" and two by pal Nick Lowe — "Heart of the City" and the immortal "(What's So Funny 'Bout Peace, Love and Understanding") — before tumbling into a jaw-dropping take on the riveting "I Want You," his face illuminated by a footlight. | ||
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{{Bibliography notes}} | {{Bibliography notes}} | ||
{{Bibliography next | |||
|prev = Orange County Register, June 3, 1999 | |||
|next = Orange County Register, June 15, 2006 | |||
}} | |||
'''Orange County Register, March 28, 2005 | '''Orange County Register, March 28, 2005 | ||
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{{Bibliography images}} | {{Bibliography images}} | ||
[[image:2005-03-28 Orange County Register photo 01 shp.jpg| | [[image:2005-03-28 Orange County Register photo 01 shp.jpg|380px]] | ||
<br><small>Photo by [[Sang H. Park]].</small> | <br><small>Photo by [[Sang H. Park]].</small> | ||
Latest revision as of 22:09, 29 October 2021
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