Melody Maker, July 3, 1982: Difference between revisions
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{{Bibliography article header}} | {{Bibliography article header}} | ||
<center><h3>Man out of time </h3></center> | <center><h3>Man out of time </h3></center> | ||
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<center> Adam Sweeting </center> | <center> Adam Sweeting </center> | ||
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''' Elvis Costello <br> | |||
Imperial Bedroom | |||
{{Bibliography text}} | {{Bibliography text}} | ||
Costello's temporary immersion in country music might have been a crucial clue. Was he looking for a way back to greater simplicity, away from his own increasingly tortuous syntactical minefields and dense arrangements. More than likely. | Costello's temporary immersion in country music might have been a crucial clue. Was he looking for a way back to greater simplicity, away from his own increasingly tortuous syntactical minefields and dense arrangements. More than likely. | ||
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And after all that, there's not many songs which really stick. There are moments, sure — but even the striking opening cadence of "Kid About It" has been lifted from "I Go To Sleep." | And after all that, there's not many songs which really stick. There are moments, sure — but even the striking opening cadence of "Kid About It" has been lifted from "I Go To Sleep." | ||
Best of the lot is "The Long Honeymoon," | Best of the lot is "The Long Honeymoon," a riveting little study of suspected infidelity couched in tawdry package-holiday images — the rhumba beat, the ironic accordion, ''"there's no money-back guarantee."'' | ||
But despite these, and odd flashes of lyrical expertise like ''"you do something very special to Mr Average"'' ("Little Savage") or ''"So this is where he came to hide when he ran from you / In a private detective's overcoat and dirty dead man's shoes"'' ("Man Out Of Time"), there's an uneasy sense that we've been this way before. There's nothing in the ''shape'' of the songs to demarcate them from prime Costello of the past, and lyrically he doesn't hit any new bases, skewer any radically new approaches. | But despite these, and odd flashes of lyrical expertise like ''"you do something very special to Mr Average"'' ("Little Savage") or ''"So this is where he came to hide when he ran from you / In a private detective's overcoat and dirty dead man's shoes"'' ("Man Out Of Time"), there's an uneasy sense that we've been this way before. There's nothing in the ''shape'' of the songs to demarcate them from prime Costello of the past, and lyrically he doesn't hit any new bases, skewer any radically new approaches. | ||
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{{Bibliography images}} | {{Bibliography images}} | ||
[[image:1982-07-03 Melody Maker page 16 clipping 01.jpg| | [[image:1982-07-03 Melody Maker page 16 clipping 01.jpg|380px|border]] | ||
<br><small>Clipping.</small> | <br><small>Clipping.</small> | ||
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<small>Photos by [[David Bailey]].</small> | <small>Photos by [[David Bailey]].</small> | ||
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Latest revision as of 23:16, 10 August 2023
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