James Madison University Breeze, April 7, 1981: Difference between revisions
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But Costello and Co. always have managed to mate unusual vocal lines with complex and difficult rhythmic and melodic structures. Since the Attractions often play as a three-piece this is even more significant, as each member of the band must carry more weight than most rock musicians handle | But Costello and Co. always have managed to mate unusual vocal lines with complex and difficult rhythmic and melodic structures. Since the Attractions often play as a three-piece this is even more significant, as each member of the band must carry more weight than most rock musicians handle. | ||
They are well equipped to handle it. Each member of the Attractions could star in any other group: here they get into some of the tightest ensemble playing committed to vinyl these days. Here, as usual, most of the focus falls on Steve Nieve's keyboards. Nieve provides the dramatic force on which many of Costello's songs succeed or rail. A particular case in point here is "Shot With His Own Gun," which features only Costello's vocals and Nieve's piano. As Nieve plays a dramatic and spare piano figure, Costello tells a tale of broken love: | They are well equipped to handle it. Each member of the Attractions could star in any other group: here they get into some of the tightest ensemble playing committed to vinyl these days. Here, as usual, most of the focus falls on Steve Nieve's keyboards. Nieve provides the dramatic force on which many of Costello's songs succeed or rail. A particular case in point here is "Shot With His Own Gun," which features only Costello's vocals and Nieve's piano. As Nieve plays a dramatic and spare piano figure, Costello tells a tale of broken love: | ||
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One of the dramatic departures on this LP is made by the man behind the board. Nick Lowe. His production here is a departure from <i>Get Happy</i>'s dense, instrumentally-dominated sound. Costello's vocals are more easily audible and comprehensible than they've been since ''My Aim is True''. Part of this, of course, has to do with how he delivers them. Much of <i>Get Happy</i>'s pace was so manic and vocals so double-tracked, it was hard to figure what all the fuss was about ''Trust'' features a more relaxed pace coupled with less double-tracking and less vocals shifting from channel to channel (a big favorite on ''This Year's Model'') | One of the dramatic departures on this LP is made by the man behind the board. Nick Lowe. His production here is a departure from <i>Get Happy</i>'s dense, instrumentally-dominated sound. Costello's vocals are more easily audible and comprehensible than they've been since ''My Aim is True''. Part of this, of course, has to do with how he delivers them. Much of <i>Get Happy</i>'s pace was so manic and vocals so double-tracked, it was hard to figure what all the fuss was about. ''Trust'' features a more relaxed pace coupled with less double-tracking and less vocals shifting from channel to channel (a big favorite on ''This Year's Model''). | ||
What you hear, however, is not always that pleasant. Costello's voice is in fine form, but as usual, the lyrics often are frightening in their intensity. Elvis likes to deal with subjects that can hit close to home, like love and hate, and therefore can chill on the slightest provocation: | What you hear, however, is not always that pleasant. Costello's voice is in fine form, but as usual, the lyrics often are frightening in their intensity. Elvis likes to deal with subjects that can hit close to home, like love and hate, and therefore can chill on the slightest provocation: | ||
Revision as of 16:40, 11 April 2015
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