Melody Maker, July 28, 1984: Difference between revisions
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''Goodbye Cruel World'' evinces no critical lapse in quality. From where I'm listening, in fact, it sounds like the most approachable Costello LP since ''Trust'', more intimate than the steely angularity of ''IB'', less blaring, more resolute than ''Punch The Clock''. The story is that most of this record was written in two weeks, with Costello hunched over a typewriter in a rented office, and was recorded as quickly. And it's true. ''Goodbye Cruel World'' has a very taking-care-of-business-like air about it, a grave, serious urgency, In this, it resembles Costello's best LP, ''Get Happy!!''. Elvis was on the ropes then, however, reeling from a series of largely self-inflicted blows that had badly damaged his career. Despite its barren title, ''Goodbye Cruel World'' has a lighter touch, doesn't really go in too much for the lacerating self-examination of "Riot Act", say, or "Secondary Modern." | ''Goodbye Cruel World'' evinces no critical lapse in quality. From where I'm listening, in fact, it sounds like the most approachable Costello LP since ''Trust'', more intimate than the steely angularity of ''IB'', less blaring, more resolute than ''Punch The Clock''. The story is that most of this record was written in two weeks, with Costello hunched over a typewriter in a rented office, and was recorded as quickly. And it's true. ''Goodbye Cruel World'' has a very taking-care-of-business-like air about it, a grave, serious urgency, In this, it resembles Costello's best LP, ''Get Happy!!''. Elvis was on the ropes then, however, reeling from a series of largely self-inflicted blows that had badly damaged his career. Despite its barren title, ''Goodbye Cruel World'' has a lighter touch, doesn't really go in too much for the lacerating self-examination of "Riot Act", say, or "Secondary Modern." | ||
There is a sharp sense of spontaneity apparent hers, though, that was oddly missing from the last album, particularly. Abandoning the TKO Horns, who were smeared all over ''Punch The Clock'', the Attractions sound sleeker, more invigorating than they have for a while, with the mighty Pete Thomas sounding especially like he's enjoying himself again after a term in the dog-house. "Sour Milk-Cow Blues," which recalls the nasty sting of "You Belong To Me," and | There is a sharp sense of spontaneity apparent hers, though, that was oddly missing from the last album, particularly. Abandoning the TKO Horns, who were smeared all over ''Punch The Clock'', the Attractions sound sleeker, more invigorating than they have for a while, with the mighty Pete Thomas sounding especially like he's enjoying himself again after a term in the dog-house. "Sour Milk-Cow Blues," which recalls the nasty sting of "You Belong To Me," and "The Deportees Club," which is carried on a torrent of alliteration, boast nasty riffing edges, played with a howling abandon. The latter, incidentally, quotes from both Costello's own "Man Out Of Time" and The Who's "I Can See For Miles": both sound like they were dashed off by Costello in a rare old temper. | ||
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Revision as of 21:29, 9 October 2013
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