Melbourne Herald Sun, October 12, 2009: Difference between revisions
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Costello looks as if he just wandered in from the Mississippi Delta — grey suit, spotted tie, a Stetson shading those trademark specs — and tells us: "It's good to be back beside the seaside." | Costello looks as if he just wandered in from the Mississippi Delta — grey suit, spotted tie, a Stetson shading those trademark specs — and tells us: "It's good to be back beside the seaside." | ||
Good to hear that voice again. He sounds vinegary in "Veronica" and frenetic in "Bedlam." He coaxes tenderness out of | Good to hear that voice again. He sounds vinegary in "Veronica" and frenetic in "Bedlam." He coaxes tenderness out of "Good Year For The Roses" and traps high notes in "Everyday I Write The Book." | ||
Saddling up with different guitars, Costello's musicianship is just as impressive. In | Saddling up with different guitars, Costello's musicianship is just as impressive. In "Condemned Man," a new song about death row, his playing has the jolt of an electric shock. "Watching The Detectives" is even more aggressive with nifty pedalwork weaving a soundscape that all but peels paint off the walls. | ||
Seasoned performer that he is, Costello knows how to vary his colours. So before the evening's out we get a jazz gem | Seasoned performer that he is, Costello knows how to vary his colours. So before the evening's out we get a jazz gem "(All Or Nothing At All)," an Aznavour classic ("She") and "Sulphur To Sugarcane" — a picaresque journey through the saloons and sawdust of old-time America. | ||
"My aim is true," Costello tells us in | "My aim is true," Costello tells us in "Alison." In his mid-50s, rock's great troubadour is still right on target. | ||
Revision as of 19:22, 25 January 2015
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