Orlando Sentinel, May 16, 2008: Difference between revisions
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That odd name for Elvis Costello's new album is a reference to the inventor of instant noodles, and that dish would be an apt metaphor for the album's appeal. | That odd name for Elvis Costello's new album is a reference to the inventor of instant noodles, and that dish would be an apt metaphor for the album's appeal. | ||
Even after multiple spins, it's hard to find a song that's an exquisite triumph, yet somehow the dozen tracks collectively manage to satisfy. In keeping with the instant noodles idea, these 12 songs were banged out in a week: In one song, Costello — who performs with the Imposters as opening act for the Police [[Concert 2008-05-16 Orlando|tonight]] at Amway Arena — shouts out instructions for the band to "go to the bridge!" | Even after multiple spins, it's hard to find a song that's an exquisite triumph, yet somehow the dozen tracks collectively manage to satisfy. In keeping with the instant noodles idea, these 12 songs were banged out in a week: In one song, Costello — who performs with the Imposters as opening act for the Police [[Concert 2008-05-16 Orlando|tonight]] at Amway Arena — shouts out instructions for the band to ''"go to the bridge!"'' | ||
Despite the tight timetable, the album is always sonically engaging as it careens from noisy rock to sambas to vaguely country ballads. | Despite the tight timetable, the album is always sonically engaging as it careens from noisy rock to sambas to vaguely country ballads. | ||
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The strongest offering is the opening "No Hiding Place," a shimmering amalgam of classic Costello elements. Over 4 minutes, the song unites clanging guitars, a driving beat, textured keyboards, harmonies and even a thread of pedal steel guitar. Above it all, Costello isn't angry, but has plenty of an older man's righteous indignation: | The strongest offering is the opening "No Hiding Place," a shimmering amalgam of classic Costello elements. Over 4 minutes, the song unites clanging guitars, a driving beat, textured keyboards, harmonies and even a thread of pedal steel guitar. Above it all, Costello isn't angry, but has plenty of an older man's righteous indignation: | ||
"Next time someone wants to hurt you or set alight your effigy," Costello spits, "don't call on me to help you out. Don't come crying to me for sympathy." | ''"Next time someone wants to hurt you or set alight your effigy,"'' Costello spits, ''"don't call on me to help you out. Don't come crying to me for sympathy."'' | ||
That's not the only song that rises to his high standards: The simmering samba rhythms on "Harry Worth" offer plenty of room for the weathered worldliness of Costello's voice. | That's not the only song that rises to his high standards: The simmering samba rhythms on "Harry Worth" offer plenty of room for the weathered worldliness of Costello's voice. |
Revision as of 23:18, 5 August 2014
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