Melody Maker, April 14, 1984: Difference between revisions
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Costello buffs will undoubtedly be familiar with this generously-stuffed collection of His Master's Voices from its previous existence on cassette. On the other hand, they may also have taken steps to annexe an America-only compilation called ''Taking Liberties'', which is very similar to ''Ten Bloody'' etc. | |||
Behind the rather long title you will find no less than 20 Elvis tracks previously unavailable on any of his UK album releases (crumbs, have to watch how you word these things). Some of its filler, but a great deal of it is indispensable if you want to be a ''serious'' Costellobore. | |||
Kicking off with the clenched hysteria of "Clean Money," which serves the same sort of function as 'There's No Action" once did, ''Ten'' etc might well be termed Costello's ''Basement Tapes'', all blueprints and tantalizing fragments. Indeed, the tuneful countryish lilt and curling pedal steel guitar of "Radio Sweetheart" could easily be a sly nod at The Band's "Katie's Been Gone." "Big Tears," meanwhile, is one of those grand-scale semi-ballads built on massively weighty chords and wheezing ''Blonde On Blonde'' organ. Mick Jones on lead guitar too, apparently, though someone has taken care to keep him well hidden. | |||
If it might be said that Elvis could knock out stuff like "Crawling To The USA" or "Dr Luther's Assistant" in a light doze, only a chimp could argue about the high quality of "Just A Memory" (gospel piano, wracked voice, shades of "Motel Matches"), or the modulating glories of "Tiny Steps." And "Getting Mighty Crowded," which stands proudly at the portals of Side Two, packs enough gritty R&B muscle to show any troublemakers the door. | |||
Also on offer are a bunch of songs which feature Elvis at play in the studio, solo but multi-tracked. There's a version of "Black And White World" featuring rubber-band bass and curiously wobbly slide guitar, and "Ghost Train" uses the same sort of claustrophobic clutter to eerie effect. "Hoover Factory" is a left field tribute to the building of the same name, while El's sinister treatment of "My Funny Valentine" suggests the Boston Strangler after crooning lessons. | |||
Plenty more, not least "Radio Radio," "Watching The Detectives" and Costello's C&W prototype "Stranger In The House." Altogether, one of Costello's best albums, whether by accident or design. Fetch! | |||
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'''Melody Maker, April 14, 1984 | '''Melody Maker, April 14, 1984 | ||
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<br><small>Cover and clippings.</small> | <br><small>Cover and clippings.</small> | ||
[[image:1984-04-14 Melody Maker photo | [[image:1984-04-14 Melody Maker photo 02.jpg|x210px|border]] | ||
[[image:1984-04-14 Melody Maker photo | [[image:1984-04-14 Melody Maker photo 01.jpg|x210px|border]] | ||
<br><small>Photos.</small> | <br><small>Photos.</small> | ||
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[[Category:Album reviews|Melody Maker 1984-04-14]] | [[Category:Album reviews|Melody Maker 1984-04-14]] | ||
[[Category:Ten Bloody Marys & Ten How's Your Fathers reviews|Melody Maker 1984-04-14]] | [[Category:Ten Bloody Marys & Ten How's Your Fathers reviews|Melody Maker 1984-04-14]] | ||
Revision as of 17:15, 9 October 2013
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