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| <center><h3> "Inspiration, vielleicht auch Diebstahl": <br> Der Sänger, der grausam war"</h3></center> | | <center><h3> "Inspiration, vielleicht auch Diebstahl": <br> Der Sänger, der grausam war" </h3></center> |
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| <center>Samir H. Köck</center> | | {{GT | link = http://translate.google.com/translate?sl=de&tl=en&u=http%3A%2F%2Fwww.elviscostello.info%2Fwiki%2Findex.php%2FVienna_Presse%2C_April_12%2C_2002 }} |
| | <center> {{mm}} Samir H. Köck </center> |
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| Elvis Costello veröffentlicht mit ''When I Was Cruel'' seine erste Pop-Platte seit sieben Jahren. Mit der ''Presse'' sprach er in Dublin über seine Liebe zum Jazz, seinen neuen Hang zur Soundtüftelei und die Schönheit des Häßlichen. | | '''Elvis Costello veröffentlicht mit ''When I Was Cruel'' seine erste Pop-Platte seit sieben Jahren. Mit der ''Presse'' sprach er in Dublin über seine Liebe zum Jazz, seinen neuen Hang zur Soundtüftelei und die Schönheit des Häßlichen. |
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| <center><h3> ''' "Inspiration, perhaps even theft":<br> The singer, who was cruel'''</h3></center>
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| Gone are the days when Elvis Costello docked with the commercial music scene of Nashville, Country Size Dolly Parton verbally attacked and music journalists denied the right to exist. The Fury of punk and anger over the cage, to bring the pop star fame with it seem smoky. High above the beautiful bay of Killiney, in a grand hotel of easily exfoliated maritime charm, sits one of the most talented of the brooder show business at fruit cake and converses rested on the recent hook impact of his art.
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| After several, sometimes quite strange-looking musical collaborations — about the abomination of ''[[For The Stars]]'' with Opera singer [[Anne Sofie von Otter|Sophie von Otter]] — the significantly fuller become a singer-songwriter has returned to the rough charm facing cheaper guitars, without being ever unappetizing.
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| Where once was the focus of attention on the song structure, when on 15 April the album ''When I Was Cruel'' appears marked by a lustful addressing the qualities of sounds between Eu and cacophony. "Although we have used some unusual instruments like harmonium, melodica and rhythm processors, but the work on the sound happened mostly in the four-week post-production. I fiddled with the engineers to make everything sound more naturally, in the main, interesting sounds can be produced but less on the mixer as in the refined combination of instruments."
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| Age of 13, began the herumzufingern Declan Patrick MacManus as in a musical dynasty born of instruments — 1977, in the sense of vacuum of the first post-punk days, he came with his album ''[[My Aim Is True]]'' out great. Over the years his devotion grew up with the music of his childhood. Father [[Ross MacManus|Ross]] was a singer and trumpet player in the Joe Loss Orchestra, mother Lillian managing the record store of [[Beatles]] manager Brian Epstein. The young Elvis Costello was always carried out with jazz and swing into contact, which should have long lasting consequences.
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| He toured with the legendary [[Count Basie]]. And for his song "[[Shipbuilding]]" he managed in 1982 to get involved Chet Baker for a solo. "On this occasion I gave Chet a song I had written for him, 'Almost Blue' where I tried to imitate his style, he hardly composed yes, but had indisputably a very personal style."
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| Honoured by Chet Baker
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| "We met each other yet often, but never talked about 'Almost Blue'. More astonished I was when I was a tape with a wonderful recording of this song someone months after Chet's death. Later also has Little [[Jimmy Scott]] interprets it quite poignant yes... there are not many that they covered my songs, but underneath are the calibre of [[Roy Orbison|Roy Orbinson]], [[Dusty Springfield]], [[Johnny Cash]] and even Chet Baker and Jimmy Scott. that makes me a bit proud."
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| So why not do something again with jazz musicians ? The last twelve years in Ireland, the land of his forefathers, resident artist dedicated to his new album with the [[Ku-umba Frank Lacy|Ku umba Frank Lacy]], [[Curtis Fowlkes]], [[Roy Nathanson]] and [[Jay Rodriguez]] a top-class horn section, which gave some of the songs the right degree of obliquity. "A super thing was that I learned shortly before the sessions that Frank Lacy also quite excellent plays the trumpet. Since I spontaneously wrote some trumpet parts, which now tracks like "15 Petals" and "...Dust" provide crucial momentum."
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| Indeed, these are long pieces — "...Dust" was only dismantled later — at the best moments Costello. Imaginative arrangements, a certain amount of courage to ugliness, surprisingly organic sound, the usual good lyrics: Song jewels. This level will not be persevered. Songs like "45," where Costello ponders the number magic and the omnipotence of pop songs in all of our lives are indeed textually attractive, but musically just a rehash already heard melodies.
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| "We have a highly qualified team of musicians and engineers employed to ensure that we do not inadvertently make a record that we've ever published" — this statement Costello shows only too clearly that grim humor is based on unpleasant truths. However, with "[[Spooky Girlfriend]]" and the epic title track "When I Was Cruel No. 2" get two more outstanding songs.
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| Sampling of himself
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| In the latter itself Costello uses the sampling method, which he has damn time not too long ago. "Sampling can be quite awful when it is unmusical. Not infrequently whole Grooves are over there operates in non- matching melodies. One can definitely bring ugliness for the sake of drama in the music, but not on such a clumsy, ignorant article I myself have drawn a lot of ideas of others. You can call it inspiration or tribute, or perhaps theft."
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| "Songwriter of my stamp go just by the mood of a legendary drive. On... Dust Pt. 2 ' we have even sampled itself, which is a possibility, even to act only really spontaneous. But what ' s happening now. Some people.. just the possibilities of sampling technique have not yet been fully explored."
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| {{Bibliography notes footer}} | | {{Bibliography notes footer}} |
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| ==External links== | | ==External links== |
| *[http://diepresse.com/home/kultur/popco/705203/CostelloSolo_Weises-Vergnugen Die Presse.com] | | *[http://diepresse.com/ DiePresse.com] |
| *[http://en.wikipedia.org/wiki/Die_Presse Wikipedia: Die Presse] | | *[http://en.wikipedia.org/wiki/Die_Presse Wikipedia: Die Presse] |
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| {{DEFAULTSORT:Presse 2002-04-12}} | | {{DEFAULTSORT:Vienna Presse 2002-04-12}} |
| [[Category:Bibliography]] | | [[Category:Bibliography]] |
| [[Category:Bibliography 2002]] | | [[Category:Bibliography 2002]] |
| [[Category:Die Presse| Presse 2002-04-12]] | | [[Category:Vienna Presse| Vienna Presse 2002-04-12]] |
| [[Category:Deutsch]] | | [[Category:Deutsch]] |
| [[Category:Newspaper articles]] | | [[Category:Newspaper articles]] |
| [[Category:Album reviews]] | | [[Category:Album reviews]] |
| [[Category:When I Was Cruel reviews]] | | [[Category:When I Was Cruel reviews]] |