Daily Kent Stater, April 13, 1989: Difference between revisions
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<center><h3> | <center><h3> Costello, Reed revive cynicism in new albums </h3></center> | ||
<center>'''Elvis Costello / Lou Reed </center> | <center>'''Elvis Costello''' / Spike — '''Lou Reed ''' / New York </center> | ||
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<center> Will Pfeifer </center> | <center> Will Pfeifer </center> | ||
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There's a definite shortage of cynicism in the record industry these days. Most songs these days have a world view that's so cheerful as to be dangerous or a calculated "serious" outlook designed to sell records (read Madonna). But as far as real, penetrating cynicism goes, it's been in short supply. At least until recently. | |||
Longtime cynics Lou Reed and Elvis Costello both have new albums out, and both discs feature a mature, talented artist ruminating on the unusual state of our world. | |||
Lou Reed's '''New York'' is his first album in several years, and without a doubt his best work since the Velvet Underground. The album weighs in at a whopping 14 songs comprising 58 minutes, but thematically it's like one long song. Think of it as a modern version of "New York, New York" without the romance or 1930s musical mentality. | |||
Each song addresses another aspect of New York living, usually with a bitter but realistic outlook that emphasizes the sadness of life in the big city — and life in America — very effectively. In "Halloween Parade," subtitled AIDS, Reed describes a parade and the variety of the particpants, but every so often mentions someone not present this year. He never mentions AIDS in the song, but the feeling of loss comes across nonetheless, more power than a song that beats the AIDS angle to death. | |||
There's a definite feeling of desperation to "New York," as if Reed thinks life in general is going to hell fast and that only anger and righteous indignation will prevent | |||
Revision as of 21:42, 16 February 2016
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