Easton Star-Democrat, March 31, 1989: Difference between revisions
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With the release of ''Spike'', Elvis Costello's new album and new persona, take a look at his recording career and consider this loose theory: Costello is the new David Bowie. | With the release of ''Spike'', Elvis Costello's new album and new persona, take a look at his recording career and consider this loose theory: Costello is the new David Bowie. | ||
Sound off-base? Granted, their music is different (though more so with their earlier work than with later stuff). But look at the | Sound off-base? Granted, their music is different (though more so with their earlier work than with later stuff). But look at the personas they've created, either on their own or with the help of others, and a parallel emerges: | ||
Bowie was the "punk" in his earlier days, the late 1960s early 70s. He became Ziggy Stardust, the brash extraterrestrial rock star out to shock the mainstream. Through the years, he metamorphosed, becoming the Young American and the Thin White Duke, his music reflecting the changes. | Bowie was the "punk" in his earlier days, the late 1960s early 70s. He became Ziggy Stardust, the brash extraterrestrial rock star out to shock the mainstream. Through the years, he metamorphosed, becoming the Young American and the Thin White Duke, his music reflecting the changes. | ||
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Now for Costello. He started out on the coattails of the punk movement. He was the "shock rocker" with an attitude, a strange stage name and funny glasses (though his music was far more toned down and melodic than your average punk ensemble). | Now for Costello. He started out on the coattails of the punk movement. He was the "shock rocker" with an attitude, a strange stage name and funny glasses (though his music was far more toned down and melodic than your average punk ensemble). | ||
Like Bowie, Costello matured through the years. He toned down somewhat (more so his music; with Bowie, it was his look/image taking on a softer edge) and went off into forays of soulful rock and country. His biggest persona turnabout has come in the 1980s. Costello donned his birth name, Declan Patrick MacManus, for his splendid acoustic King of America disc. He became Napoleon Dynamite for his more abrasive ''Blood | Like Bowie, Costello matured through the years. He toned down somewhat (more so his music; with Bowie, it was his look/image taking on a softer edge) and went off into forays of soulful rock and country. His biggest persona turnabout has come in the 1980s. Costello donned his birth name, Declan Patrick MacManus, for his splendid acoustic King of America disc. He became Napoleon Dynamite for his more abrasive ''Blood & Chocolate'', and recorded a number of other tracks with musicians such as the Coward Brothers, the Emotional Toothpaste, Elvis Costello and the Attractions (his original band), and others. | ||
Is this a convincing case? Is Costello Bowie's alter ego? Probably not, at least simply because of the difference in their music. But it's an interesting | Is this a convincing case? Is Costello Bowie's alter ego? Probably not, at least simply because of the difference in their music. But it's an interesting thought. There's no doubt the two are easily the most prolific and talented chameleons of popular music. | ||
Unlike Bowie's later work (except, maybe, Let's Dance), Costello's latter-day stuff | Now Costello returns with his first album in more than two years as yet another performer: ''Spike'', "the beloved entertainer," as the record is subtitled. | ||
Unlike Bowie's later work (except, maybe, Let's Dance), Costello's latter-day stuff — and ''Spike'' in particular — shows a wordly, still angry, intelligent and continually evolving musician. | |||
Recorded with a virtual Who's Who of rock past and present, ''Spike'' is Costello's magnum opus. | Recorded with a virtual Who's Who of rock past and present, ''Spike'' is Costello's magnum opus. | ||
He covers a gamut of musical styles: pop ("Veronica"), instrumental jazz ("Stalin Malone"), brash rock ("Let Him Dangle," "Coal-Train Robberies"), Irish folk balladry ("Any King's Shilling"). All with the help of the likes of Paul McCartney, Roger McGuinn and Chrissie Hynde. The concept is all over the musical map, but the LP flows as a coherent package, totally kept together by Costello's vocals, lyrics and superb instrumentation. | He covers a gamut of musical styles: pop ("Veronica"), instrumental jazz ("Stalin Malone"), brash rock ("Let Him Dangle," "Coal-Train Robberies"), Irish folk balladry ("Any King's Shilling"). All with the help of the likes of Paul McCartney, Roger McGuinn and Chrissie Hynde. | ||
The concept is all over the musical map, but the LP flows as a coherent package, totally kept together by Costello's vocals, lyrics and superb instrumentation. | |||
Musically, the arrangements and textures of many tracks are warmer and softer than previous work. In fact, if there's a fault, there's quite a bit of somberness (no fault at all, in my opinion). | Musically, the arrangements and textures of many tracks are warmer and softer than previous work. In fact, if there's a fault, there's quite a bit of somberness (no fault at all, in my opinion). | ||
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Even more so today, 12 years into his recording career. | Even more so today, 12 years into his recording career. | ||
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{{tags}}[[Spike]] {{-}} [[David Bowie]] {{-}} [[Declan MacManus]] {{-}} [[King Of America]] {{-}} [[Napoleon Dynamite]] {{-}} [[Blood & Chocolate]] {{-}} [[The Coward Brothers]] {{-}} [[The Emotional Toothpaste]] {{-}} [[The Attractions]] {{-}} [[The Beloved Entertainer]] {{-}} [[Veronica]] {{-}} [[Stalin Malone]] {{-}} [[Let Him Dangle]] {{-}} [[Coal-Train Robberies]] {{-}} [[Any King's Shilling]] {{-}} [[Paul McCartney]] {{-}} [[Roger McGuinn]] {{-}} [[Chrissie Hynde]] {{-}} [[Tramp The Dirt Down]] {{-}} [[Margaret Thatcher]] {{-}} [[God's Comic]] {{-}} [[Let Him Dangle]] {{-}} [[Baby Plays Around]] {{-}} [[Pads, Paws And Claws]] | |||
{{cx}} | {{cx}} | ||
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{{Bibliography images}} | {{Bibliography images}} | ||
[[image:1989-03-31 Easton Star-Democrat page C-05.jpg| | [[image:1989-03-31 Easton Star-Democrat page C-05 clipping 01.jpg|380px]] | ||
<br><small>Page scan.</small> | <br><small>Clipping.</small> | ||
<small>Page scan.</small><br> | |||
[[image:1989-03-31 Easton Star-Democrat page C-05.jpg|x120px|border]] | |||
{{Bibliography notes footer}} | {{Bibliography notes footer}} | ||
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*[http://www.stardem.com/ StarDem.com] | *[http://www.stardem.com/ StarDem.com] | ||
*[http://en.wikipedia.org/w/index.php?title=Easton_Star-Democrat Wikipedia: Easton Star-Democrat] | *[http://en.wikipedia.org/w/index.php?title=Easton_Star-Democrat Wikipedia: Easton Star-Democrat] | ||
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Latest revision as of 01:12, 12 February 2020
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