Detroit Free Press, January 18, 1993: Difference between revisions
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<center><h3> Elvis Costello pairs with strings | <center><h3> Elvis Costello pairs with strings </h3></center> | ||
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<center> Gary Graff </center> | <center> Gary Graff </center> | ||
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'''Elvis Costello and the Brodsky Quartet <br> | |||
The Juliet Letters | |||
{{Bibliography text}} | {{Bibliography text}} | ||
After 16 years of wearing — and wearing down — his image as the angry young man of punk, Elvis Costello goes for baroque this time out. | After 16 years of wearing — and wearing down — his image as the angry young man of punk, Elvis Costello goes for baroque this time out. | ||
''The Juliet Letters '' pares down the Costello sound, pairing him with a string quartet that has made its name with distinctive interpretations of classical and modern composers. The combination is neither rock nor classical but rather a kind of chamber pop — not a far stretch considering the quieter pieces in Costello's oeuvre have always had a touch of music di camera. | ''The Juliet Letters '' pares down the Costello sound, pairing him with a string quartet that has made its name with distinctive interpretations of classical and modern composers. The combination is neither rock nor classical but rather a kind of chamber pop — not a far stretch considering the quieter pieces in Costello's oeuvre have always had a touch of ''music di camera''. | ||
Nonetheless, it's a significant shift, perhaps the most daring outing of Costello's willfully volatile career. Fortunately, ''The Juliet Letters'' | Nonetheless, it's a significant shift, perhaps the most daring outing of Costello's willfully volatile career. Fortunately, ''The Juliet Letters'' — with its loose concept of dour correspondence that focuses on lost love and suicidal depression — works more than it doesn't. | ||
Costello sounds emboldened by his new surroundings, trying a variety of new voices and altering his effect to fit the mood of each piece. | Costello sounds emboldened by his new surroundings, trying a variety of new voices and altering his effect to fit the mood of each piece. | ||
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It's not likely ''The Juliet Letters'' will make us forget "Alison" or "Pump It Up" or any of Costello's pop masterpieces, but the album certainly should be viewed as more than an eccentric sidetrack. | It's not likely ''The Juliet Letters'' will make us forget "Alison" or "Pump It Up" or any of Costello's pop masterpieces, but the album certainly should be viewed as more than an eccentric sidetrack. | ||
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{{tags}}[[The Juliet Letters]] {{-}} [[The Brodsky Quartet]] {{-}} [[I Almost Had A Weakness]] {{-}} [[Jacksons, Monk And Rowe]] {{-}} [[Alison]] {{-}} [[Pump It Up]] | |||
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{{Bibliography notes}} | {{Bibliography notes}} | ||
{{Bibliography next | |||
|prev = Detroit Free Press, May 20, 1991 | |||
|next = Detroit Free Press, January 31, 1993 | |||
}} | |||
'''Detroit Free Press, January 18, 1993 | '''Detroit Free Press, January 18, 1993 | ||
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{{Bibliography images}} | {{Bibliography images}} | ||
[[image:1993-01-18 Detroit Free Press page 3E.jpg| | [[image:1993-01-18 Detroit Free Press page 3E clipping 01.jpg|210px]] | ||
<br><small>Page scan.</small> | <br><small>Clipping.</small> | ||
<small>Page scan.</small><br> | |||
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{{Bibliography notes footer}} | {{Bibliography notes footer}} |
Latest revision as of 15:47, 25 January 2023
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