Mojo, March 2002: Difference between revisions
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'''Elvis's rockest creations in 2-CD editions, each with a bonus disc featuring material available on earlier reissues, plus previously unreleased demos. | '''Elvis's rockest creations in 2-CD editions, each with a bonus disc featuring material available on earlier reissues, plus previously unreleased demos. | ||
{{Bibliography text}} | {{Bibliography text}} | ||
Here's a little game: That's An Elvis Costello Song Isn't It? It's easy. Pounce on an everyday phrase that can adopt a hint of cynicism or a suggestion of sour sex and spit it out with a gruff New Wave sneer. Then come up with the chorus. For example: "Wind Farm!" (Chorus: ''"How are they blowing, down on your wind farm?"''), or "Ribbed For Pleasure" (Chorus: ''"Tell me, have you ever been ribbed for pleasure?"''). | Here's a little game: That's An Elvis Costello Song Isn't It? It's easy. Pounce on an everyday phrase that can adopt a hint of cynicism or a suggestion of sour sex and spit it out with a gruff New Wave sneer. Then come up with the chorus. For example: "Wind Farm!" (Chorus: ''"How are they blowing, down on your wind farm?"''), or "Ribbed For Pleasure" (Chorus: ''"Tell me, have you ever been ribbed for pleasure?"''). | ||
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''Brutal Youth'' was a half-cocked return to this place, a semi-rapprochement with the Attractions to see if there was "still a loud song worth singing". The first track refers to ''"flogging a dead horse all the way down Pony Street,"'' but yes, there was still a pulse in the nag, mostly on the slow ones, ironically. The measured ruminations of EC's 2002 sleevenotes suggest that — "simmering grudge" against an Attraction or two beside — he's left the bile behind. A disappointment, maybe, for a new generation of fans; a relief, I'm sure, for Elvis himself. | ''Brutal Youth'' was a half-cocked return to this place, a semi-rapprochement with the Attractions to see if there was "still a loud song worth singing". The first track refers to ''"flogging a dead horse all the way down Pony Street,"'' but yes, there was still a pulse in the nag, mostly on the slow ones, ironically. The measured ruminations of EC's 2002 sleevenotes suggest that — "simmering grudge" against an Attraction or two beside — he's left the bile behind. A disappointment, maybe, for a new generation of fans; a relief, I'm sure, for Elvis himself. | ||
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{{tags}}[[This Year's Model]] {{-}} [[Blood & Chocolate]] {{-}} [[Brutal Youth]] {{-}} [[My Aim Is True]] {{-}} [[Nick Lowe]] {{-}} [[The Attractions]] {{-}} [[Tokyo Storm Warning]] {{-}} [[I Want You]] {{-}} [[Napoleon Dynamite]] {{-}} [[Pony St.]] {{-}} [[Joni Mitchell]] {{-}} [[Vanity Fair, November 2000#Joni Mitchell|Blue]] {{-}} [[Vanity Fair, November 2000#Joni Mitchell|For The Roses]] {{-}} [[Vanity Fair, November 2000#Joni Mitchell|The Hissing Of Summer Lawns]] {{-}} [[Joe Loss Orchestra]] {{-}} [[Ross MacManus]] {{-}} [[Substitute]] {{-}} [[Bob Dylan]] {{-}} [[John Lydon]] {{-}} [[Graham Parker]] | |||
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When you put the records on, each has an individual personality. There are many people who are making names for themselves by being like, "Look at my wounds," but this is all very honest, and the ease with which it's performed is really quite shocking. It has artistry. It's not the same as writing pages in your diary, dribbling, "Someone broke my heart" or "My mother doesn't love me." | When you put the records on, each has an individual personality. There are many people who are making names for themselves by being like, "Look at my wounds," but this is all very honest, and the ease with which it's performed is really quite shocking. It has artistry. It's not the same as writing pages in your diary, dribbling, "Someone broke my heart" or "My mother doesn't love me." | ||
Leslie Vinyl was the arranger for the Joe Loss orchestra when I was a kid. My dad [Ross | Leslie Vinyl was the arranger for the Joe Loss orchestra when I was a kid. My dad [Ross MacManus] was with them. This man at the start of the '60s had the job of transcribing pop records so that they could be performed by a light entertainment orchestra. There'd be Matt Monro and there'd be my dad, singing ballads with a fairly typical backing. Then the '60s happened. The cultural clash between pop music output between '62 and '67 is so enormous, but this guy had such a brilliant talent to be able to listen to these records — "Substitute," "Good Vibrations," "See Emily Play," whatever was in the charts — and make some kind of sense of them. | ||
If it hadn't been for Leslie, I'd never have heard as many records. There's a funny little window between the world of Alma Cogan and the world of Jimi Hendrix, and that's the world I grew up in, so I owe him a real debt. This guy worked out, there's a note of feedback at the beginning of "Substitute" and he's put it on a clarinet. There's something marvellous about it. I can't help but be full of admiration. | If it hadn't been for Leslie, I'd never have heard as many records. There's a funny little window between the world of Alma Cogan and the world of Jimi Hendrix, and that's the world I grew up in, so I owe him a real debt. This guy worked out, there's a note of feedback at the beginning of "Substitute" and he's put it on a clarinet. There's something marvellous about it. I can't help but be full of admiration. |
Latest revision as of 18:01, 8 November 2021
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