Creem, June 1980: Difference between revisions
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Throughout the record it's clear that Lowe and the superb [[The Attractions|Attractions]] could do anything they had a mind to but, incredibly, chose to simply serve the songs. To present 20 songs — each one with its own integrity and intensity intact — is a minor miracle. Without going into detail (and turning this into ''War & Peace''), the songs that are obscure sound great and hold out the promise of substantial meaning. The songs that are obsessive — as most of his are — don't lose their universality for their obsessiveness. If anything, they seem to gain scope and suggestibility from their very single-mindedness. (Welcome to the 80's.) Through almost an hour's worth of tunes Costello dazzles with his impassioned singing and his inspired use of language, particularly his country-style genius for finding the complex in the commonplace. (Simile of the month: "Giving you away like motel matches".) All this without the vanity of a lyric sheet — you have to listen to this record to know what's on it. | Throughout the record it's clear that Lowe and the superb [[The Attractions|Attractions]] could do anything they had a mind to but, incredibly, chose to simply serve the songs. To present 20 songs — each one with its own integrity and intensity intact — is a minor miracle. Without going into detail (and turning this into ''War & Peace''), the songs that are obscure sound great and hold out the promise of substantial meaning. The songs that are obsessive — as most of his are — don't lose their universality for their obsessiveness. If anything, they seem to gain scope and suggestibility from their very single-mindedness. (Welcome to the 80's.) Through almost an hour's worth of tunes Costello dazzles with his impassioned singing and his inspired use of language, particularly his country-style genius for finding the complex in the commonplace. (Simile of the month: "Giving you away like motel matches".) All this without the vanity of a lyric sheet — you have to listen to this record to know what's on it. | ||
I don't want to seem to overpraise ''Get Happy!!'', but I'm not really sure I could. I believe you'll be hearing these songs in many different versions for years to come (especially if he'll stop beating on poor [[Linda Ronstadt|Linda R.]] while she's trying to stuff thousand dollar bills into his pockets). When | I don't want to seem to overpraise ''Get Happy!!'', but I'm not really sure I could. I believe you'll be hearing these songs in many different versions for years to come (especially if he'll stop beating on poor [[Linda Ronstadt|Linda R.]] while she's trying to stuff thousand dollar bills into his pockets). When I listen I hear [[Willie Nelson]] taking a conference call from [[Burt Bacharach]] and [[Hal David]] and Isaac Hayes and David Porter. No matter what he said to [[Bonnie Bramlett]], no one recording today has studied the American classics more carefully and fruitfully. But influences and inclinations aside, ''Get Happy!!'' is a spectacular showcase for Elvis Costello. I still can't say his name without a twinge, but if you care at all about rock & roll you must have this album. | ||
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Revision as of 21:43, 29 January 2013
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