Milwaukee Journal Sentinel, April 18, 2005: Difference between revisions
(formatting) |
(formatting +image link) |
||
Line 20: | Line 20: | ||
The frontman himself operated well beyond his theoretically intrinsic limitations. Costello's guitar playing did once garner him the nickname "Little Hands of Concrete," and the comparison between his voice and Bob Dylan's remains not entirely inaccurate — certainly, both squeeze intense emotion from constricted throats — but he burned down considerations of mere technical skill, goaded by the Imposters and by the long reach of his talent. | The frontman himself operated well beyond his theoretically intrinsic limitations. Costello's guitar playing did once garner him the nickname "Little Hands of Concrete," and the comparison between his voice and Bob Dylan's remains not entirely inaccurate — certainly, both squeeze intense emotion from constricted throats — but he burned down considerations of mere technical skill, goaded by the Imposters and by the long reach of his talent. | ||
Known most widely for his songs of heartbroken rage and lovelorn contempt, Costello easily poured out an aching, scarred version of his biggest hit, "[[Alison]]," and a sinuously slashing take of "[[Watching The Detectives|Watching the Detectives]]." However, he also shook his head at his younger self in "[[When I Was Cruel No. 2]]" (reminiscent of a James Bond theme song adapted to the foibles of middle age), wrung his hands regretfully in "[[Either Side Of The Same Town|Either Side of the Same Town]]" (maturely epic Americana and soul) and simply kicked up his heels for rollicking covers of | Known most widely for his songs of heartbroken rage and lovelorn contempt, Costello easily poured out an aching, scarred version of his biggest hit, "[[Alison]]," and a sinuously slashing take of "[[Watching The Detectives|Watching the Detectives]]." However, he also shook his head at his younger self in "[[When I Was Cruel No. 2]]" (reminiscent of a James Bond theme song adapted to the foibles of middle age), wrung his hands regretfully in "[[Either Side Of The Same Town|Either Side of the Same Town]]" (maturely epic Americana and soul) and simply kicked up his heels for rollicking covers of Merle Haggard's "[[Tonight The Bottle Let Me Down|Tonight the Bottle Let Me Down]]" and Nick Lowe's "[[Heart Of The City|Heart of the City]]." | ||
Yet after the crashing noise, the vertiginous tempo changes and the high genre jumps, Costello closed with "[[The Scarlet Tide]]," a folk valediction that blanketed most of the near-capacity crowd in a respectful, mournful hush. Then everyone cheered wildly, having given their money to a salesman (or delivery man?) who, despite the look of his garments, had not cheated them. | Yet after the crashing noise, the vertiginous tempo changes and the high genre jumps, Costello closed with "[[The Scarlet Tide]]," a folk valediction that blanketed most of the near-capacity crowd in a respectful, mournful hush. Then everyone cheered wildly, having given their money to a salesman (or delivery man?) who, despite the look of his garments, had not cheated them. | ||
Line 36: | Line 36: | ||
[[image:2005-04-18 Milwaukee Journal Sentinel clipping 01.jpg|360px]] | [[image:2005-04-18 Milwaukee Journal Sentinel clipping 01.jpg|360px]] | ||
<br><small>Clipping.</small> | <br><small>Clipping.</small> | ||
[[image:2005-04-18 Milwaukee Journal Sentinel page 6B.jpg|x120px]] | |||
<br><small>Page scan.</small> | |||
{{Bibliography notes footer}} | {{Bibliography notes footer}} |
Revision as of 16:20, 15 August 2014
|