Chicago Tribune, May 16, 1991: Difference between revisions
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<center> Greg Kot </center> | <center> Greg Kot </center> | ||
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Costello has yet to make a truly bad or boring album, but lately he has taken to making overly fussy ones. ''Mighty Like a Rose'', his 15th record, is a densely produced, wildly diverse collection, dotted with tiny lyrical and sonic epiphanies and a few elegant melodies. The session musicians don`t rock as hard as Costello`s Attractions once did, but he has produced great music before with hired guns (''King of America''). What`s missing, on about half the cuts, is the emotional directness that informs Costello`s best music. The slower tunes work best, such as the waltz-time "All Grown Up" and the exquisitely acidic, Leonard Cohen-like "After the Fall." But when other writers enter the mix — two collaborations left over from sessions with Paul McCartney and wife Cait O`Riordan`s "Broken" — ''Mighty Like a Rose'' withers into mediocrity. | Costello has yet to make a truly bad or boring album, but lately he has taken to making overly fussy ones. ''Mighty Like a Rose'', his 15th record, is a densely produced, wildly diverse collection, dotted with tiny lyrical and sonic epiphanies and a few elegant melodies. The session musicians don`t rock as hard as Costello`s Attractions once did, but he has produced great music before with hired guns (''King of America''). What`s missing, on about half the cuts, is the emotional directness that informs Costello`s best music. The slower tunes work best, such as the waltz-time "All Grown Up" and the exquisitely acidic, Leonard Cohen-like "After the Fall." But when other writers enter the mix — two collaborations left over from sessions with Paul McCartney and wife Cait O`Riordan`s "Broken" — ''Mighty Like a Rose'' withers into mediocrity. | ||
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'''Chicago Tribune, May 16, 1991 | '''Chicago Tribune, May 16, 1991 | ||
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