Daily Kent Stater, April 13, 1989: Difference between revisions
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<center><h3> Costello, Reed revive cynicism in new albums </h3></center> | <center><h3> Costello, Reed revive cynicism in new albums </h3></center> | ||
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<center> Will Pfeifer </center> | <center> Will Pfeifer </center> | ||
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'''Elvis Costello''' / Spike <br> | |||
'''Lou Reed ''' / New York | |||
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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. | 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. | ||
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The most outright statement of this attitude is "There is No Time," where Reed basically tells his audience to get up off its collective ass and stop accepting things as they are. It's the evil twin of the car commercials that paint America as a Norman Rockwell ''Saturday Evening Post'' cover. Reed doesn't say that America is a terrible place, but he does say that it needs work and action. ''"This is no time for my country right or wrong / Remember what that brought,"'' he says, and these days that amounts to a radical viewpoint. | The most outright statement of this attitude is "There is No Time," where Reed basically tells his audience to get up off its collective ass and stop accepting things as they are. It's the evil twin of the car commercials that paint America as a Norman Rockwell ''Saturday Evening Post'' cover. Reed doesn't say that America is a terrible place, but he does say that it needs work and action. ''"This is no time for my country right or wrong / Remember what that brought,"'' he says, and these days that amounts to a radical viewpoint. | ||
The most controversial song on the album is probably "Good Evening Mr. Waldheim." In its infinite "liberalness," ''Rolling Stone'' magazine has already taken Reed to task for criticizing Jesse Jackson for his tics to Louis | The most controversial song on the album is probably "Good Evening Mr. Waldheim." In its infinite "liberalness," ''Rolling Stone'' magazine has already taken Reed to task for criticizing Jesse Jackson for his tics to Louis Farrakhan. Though it may be a little strong to compare the Rev. Jackson to Kurt Waldheim, Reed is no political novice trying to inject a little timeliness into his music. He's entitled to his beliefs and his right to air them on vinyl. | ||
Elvis Costello has also earned the right to air his beliefs on vinyl, and though ''Spike'' isn't as political as "New York," it's a no less penetrating look at society. | Elvis Costello has also earned the right to air his beliefs on vinyl, and though ''Spike'' isn't as political as "New York," it's a no less penetrating look at society. | ||
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The most accessible song on the album, and the one receiving the most airplay is "Veronica." It's a very catchy tune that sounds at first like just another love song. It's a mark of Costello's depth and dark humor that the song is actually about an old woman in a world of her own. The song is on her side, however, and it mocks those ''"who shout her name and steal her clothes."'' | The most accessible song on the album, and the one receiving the most airplay is "Veronica." It's a very catchy tune that sounds at first like just another love song. It's a mark of Costello's depth and dark humor that the song is actually about an old woman in a world of her own. The song is on her side, however, and it mocks those ''"who shout her name and steal her clothes."'' | ||
"Veronica" is the most cheerful song on the album, but unlike ''New York'', this album hides the subject matter of its songs under a stunning variety of styles. Capital punishment, Margaret Thatcher, the afterlife and the ever-popular loneliness are all targets for Costello's biting lyrics and intricate song-stylings. He has help from such luminaries as Paul McCartney, Chrissie Hynde and T | "Veronica" is the most cheerful song on the album, but unlike ''New York'', this album hides the subject matter of its songs under a stunning variety of styles. Capital punishment, Margaret Thatcher, the afterlife and the ever-popular loneliness are all targets for Costello's biting lyrics and intricate song-stylings. He has help from such luminaries as Paul McCartney, Chrissie Hynde and T{{nb}}Bone Burnett, but the overall result is pure Costello. | ||
''Spike'' is an entertaining album, but Costello doesn't want to be a beloved entertainer. He said recently in an interview that ''Spike the Beloved Entertainer'' isn't a title. It's a command. Ah, sweet cynicism. | ''Spike'' is an entertaining album, but Costello doesn't want to be a beloved entertainer. He said recently in an interview that ''Spike the Beloved Entertainer'' isn't a title. It's a command. Ah, sweet cynicism. | ||
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{{tags}}[[Spike]] {{-}} [[Veronica]] {{-}} [[Let Him Dangle]] {{-}} [[Tramp The Dirt Down]] {{-}} [[God's Comic]] {{-}} [[Paul McCartney]] {{-}} [[Chrissie Hynde]] {{-}} [[T{{nb}}Bone Burnett]] {{-}} [[The Beloved Entertainer]] {{-}} [[Margaret Thatcher]] {{-}} [[Lou Reed]] {{-}} [[The Velvet Underground]] | |||
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{{Bibliography next | |||
|prev = Daily Kent Stater, August 18, 1982 | |||
|next = Daily Kent Stater, June 22, 1994 | |||
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'''The Daily Kent Stater, April 13, 1989 | '''The Daily Kent Stater, April 13, 1989 | ||
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<br><small>Clippings.</small> | <br><small>Clippings.</small> | ||
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<small>Page scans.</small><br> | |||
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Latest revision as of 11:11, 28 September 2021
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