Loyola College Greyhound, February 27, 1981: Difference between revisions
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When Elvis Costello appeared on the ''Tomorrow'' show a few weeks back, his performance — both talking and singing — was noteworthy for two reasons. For one thing, it showed Elvis as an articulate, witty, and thoughtful artist who doesn't mind sitting down and discussing himself and his work. | When Elvis Costello appeared on the ''[[TV 1981-02-03 Tom Snyder|Tomorrow]]'' show a few weeks back, his performance — both talking and singing — was noteworthy for two reasons. For one thing, it showed Elvis as an articulate, witty, and thoughtful artist who doesn't mind sitting down and discussing himself and his work. | ||
But his appearance also deserves attention for something specific he said there. Questioned about recent alterations (some call them "refinements") in his music, Elvis disdained any notion that he was "maturing" as an artist ("Mature — it sounds like something cheese does" was the way he put it), then shrugged and said he was merely trying to work from a broader base. | But his appearance also deserves attention for something specific he said there. Questioned about recent alterations (some call them "refinements") in his music, Elvis disdained any notion that he was "maturing" as an artist ("Mature — it sounds like something cheese does" was the way he put it), then shrugged and said he was merely trying to work from a broader base. | ||
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Occasionally, Elvis opts to concentrate on one particular theme, zeroing in on a definite target: "Clubland" on the surface a diatribe against country clubs that exclude one group or another, is actually a scathing attack on the very notion of "class"; "White Knuckles" is a sensitive and sympathetic investigation into the problem of wife-beating, unforgiving in its contempt for the attacker (''"You don't have to take it so you just give in"''). | Occasionally, Elvis opts to concentrate on one particular theme, zeroing in on a definite target: "Clubland" on the surface a diatribe against country clubs that exclude one group or another, is actually a scathing attack on the very notion of "class"; "White Knuckles" is a sensitive and sympathetic investigation into the problem of wife-beating, unforgiving in its contempt for the attacker (''"You don't have to take it so you just give in"''). | ||
From the | From the grand piano eloquence of "Shot With His Own Gun" to the echo-chamber rock of "Luxembourg" to the impassioned urgency of "Lover's Walk," ''Trust'' is the work of a man who not only has something to say, but knows how to get his point across. | ||
Give a listen to "Luxembourg." The words are incomprehensible, the pace frenetic. When it's all over, you'll have no idea what Costello was talking about. | Give a listen to "Luxembourg." The words are incomprehensible, the pace frenetic. When it's all over, you'll have no idea what Costello was talking about. |
Latest revision as of 18:31, 29 September 2017
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