Otago Daily Times, April 10, 2010: Difference between revisions
(formatting +default sorting) |
(.+New Zealand publications index) |
||
(One intermediate revision by the same user not shown) | |||
Line 2: | Line 2: | ||
{{:Bibliography index}} | {{:Bibliography index}} | ||
{{:Otago Daily Times index}} | {{:Otago Daily Times index}} | ||
{{: | {{:New Zealand publications index}} | ||
{{Bibliography article header}} | {{Bibliography article header}} | ||
<center><h3> Long Player: Costello showed <br> why he is always this year's model </h3></center> | <center><h3> Long Player: Costello showed <br> why he is always this year's model </h3></center> | ||
<center> In the age of the single download, Jeff Harford rediscovers the album. </center> | |||
---- | ---- | ||
<center> Jeff Harford </center> | <center> Jeff Harford </center> | ||
---- | ---- | ||
{{Bibliography text}} | {{Bibliography text}} | ||
Elvis Costello had hardly given the music world time to digest 1977's rocking new wave debut ''[[My Aim Is True]]'' before serving up two altogether more satisfying courses. | Elvis Costello had hardly given the music world time to digest 1977's rocking new wave debut ''[[My Aim Is True]]'' before serving up two altogether more satisfying courses. | ||
''[[This Year's Model]]'' (1978) and ''[[Armed Forces]]'' (1979) firmly established him as geek rock's most eloquent figurehead, an invective-spitting reincarnation of Buddy Holly out to seek revenge on every girl, goon and government that had done him wrong. | ''[[This Year's Model]]'' (1978) and ''[[Armed Forces]]'' (1979) firmly established him as geek rock's most eloquent figurehead, an invective-spitting reincarnation of Buddy Holly out to seek revenge on every girl, goon and government that had done him wrong. | ||
This Year's Model marks Costello's first collaboration with backing band the Attractions, a move that sharpened his sound to match the winklepicker-tipped threat of his wordplay. | ''This Year's Model'' marks Costello's first collaboration with backing band the Attractions, a move that sharpened his sound to match the winklepicker-tipped threat of his wordplay. | ||
Costello's guitar takes a back seat on a rhythm-driven album of sneering intensity that, despite its allusions to punk, is forging a fresh and vital form of pop music to fit the social climate of the time. There is joy and malice in the carnivalesque whirl of [[Steve Nieve]]'s keyboard, and urgency in the precise, primal thumping of [[Pete Thomas|Pete Tomas]]' drums. | Costello's guitar takes a back seat on a rhythm-driven album of sneering intensity that, despite its allusions to punk, is forging a fresh and vital form of pop music to fit the social climate of the time. There is joy and malice in the carnivalesque whirl of [[Steve Nieve]]'s keyboard, and urgency in the precise, primal thumping of [[Pete Thomas|Pete Tomas]]' drums. |
Latest revision as of 00:39, 11 September 2015
|
|