Chicago Tribune, May 16, 1996: Difference between revisions

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<center> Mark Caro </center>
<center> Mark Caro </center>
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It's strange that this combination of new songs and others that Costello wrote for or with other people would be his most cohesive, soulful album in a decade. He's playing with [[the Attractions]] again but isn't trying to relive past glories (as on 1994's ''[[Brutal Youth]]'') or demonstrating how many stylistic hats he can fit on his head (as on everything since ''[[Spike]]''). Instead, he's confidently, passionately delivering a strong group of songs — sequenced dramatically, with three opening, shimmering ballads building to a guitar explosion in the middle of "[[Complicated Shadows]]" — as the Attractions provide just the right, restrained ornamentation. Co-producer [[Geoff Emerick]], the Beatles engineer who last worked with Costello on his 1982 baroque breakthrough ''[[Imperial Bedroom]]'', again brings out the warmth in the singer's voice, though this time the studio trickery is minimal. The stand-outs are the mid-tempo tunes, like the would-be pleading of "[[Why Can't A Man Stand Alone?|Why Can't a Man Stand Alone?]]" (written for, but not recorded by [[Sam Moore]]) and a shuffling sleeper called "[[Distorted Angel]]."
It's strange that this combination of new songs and others that Costello wrote for or with other people would be his most cohesive, soulful album in a decade. He's playing with the Attractions again but isn't trying to relive past glories (as on 1994's ''Brutal Youth'') or demonstrating how many stylistic hats he can fit on his head (as on everything since ''Spike''). Instead, he's confidently, passionately delivering a strong group of songs — sequenced dramatically, with three opening, shimmering ballads building to a guitar explosion in the middle of "Complicated Shadows" — as the Attractions provide just the right, restrained ornamentation. Co-producer Geoff Emerick, the Beatles engineer who last worked with Costello on his 1982 baroque breakthrough ''Imperial Bedroom'', again brings out the warmth in the singer's voice, though this time the studio trickery is minimal. The stand-outs are the mid-tempo tunes, like the would-be pleading of "Why Can't a Man Stand Alone?" (written for, but not recorded by Sam Moore) and a shuffling sleeper called "Distorted Angel."


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{{tags}}[[All This Useless Beauty]] {{-}} [[The Attractions]] {{-}} [[Geoff Emerick]] {{-}} [[Distorted Angel]] {{-}} [[Complicated Shadows]] {{-}} [[Why Can't A Man Stand Alone?]] {{-}} [[Sam Moore]] {{-}} [[Brutal Youth]] {{-}} [[Spike]] {{-}} [[Imperial Bedroom]] {{-}} [[The Beatles]]
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{{Bibliography next
|prev = Chicago Tribune, May 18, 1995
|prev = Chicago Tribune, May 18, 1995
|next = Chicago Tribune, September 27, 1998
|next = Chicago Tribune, May 20, 1996
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'''Chicago Tribune, May 16, 1996
'''Chicago Tribune, May 16, 1996
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[[Mark Caro]] reviews ''[[All This Useless Beauty]]''.
[[Mark Caro]] reviews ''[[All This Useless Beauty]]''.


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==External links==
==External links==
*[http://articles.chicagotribune.com/1996-05-16/features/9605160325_1_imperial-bedroom-1994-s-brutal-youth-geoff-emerick ChicagoTribune.com]
*[https://www.chicagotribune.com/ ChicagoTribune.com]
*[http://en.wikipedia.org/wiki/Chicago_Tribune Wikipedia: Chicago Tribune]
*[http://en.wikipedia.org/wiki/Chicago_Tribune Wikipedia: Chicago Tribune]
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All This Useless Beauty

Elvis Costello and the Attractions

Mark Caro

3½ stars (out of 4) reviews3½ stars (out of 4) reviews3½ stars (out of 4) reviews3½ stars (out of 4) reviews

It's strange that this combination of new songs and others that Costello wrote for or with other people would be his most cohesive, soulful album in a decade. He's playing with the Attractions again but isn't trying to relive past glories (as on 1994's Brutal Youth) or demonstrating how many stylistic hats he can fit on his head (as on everything since Spike). Instead, he's confidently, passionately delivering a strong group of songs — sequenced dramatically, with three opening, shimmering ballads building to a guitar explosion in the middle of "Complicated Shadows" — as the Attractions provide just the right, restrained ornamentation. Co-producer Geoff Emerick, the Beatles engineer who last worked with Costello on his 1982 baroque breakthrough Imperial Bedroom, again brings out the warmth in the singer's voice, though this time the studio trickery is minimal. The stand-outs are the mid-tempo tunes, like the would-be pleading of "Why Can't a Man Stand Alone?" (written for, but not recorded by Sam Moore) and a shuffling sleeper called "Distorted Angel."


Tags: All This Useless BeautyThe AttractionsGeoff EmerickDistorted AngelComplicated ShadowsWhy Can't A Man Stand Alone?Sam MooreBrutal YouthSpikeImperial BedroomThe Beatles

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Chicago Tribune, May 16, 1996


Mark Caro reviews All This Useless Beauty.

Images

1996-05-16 Chicago Tribune page 5-09 clipping 01.jpg
Clipping.

Page scan.
1996-05-16 Chicago Tribune page 5-09.jpg

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